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To the

Motion Picture
Industry

For 1931

Twelve Months of

Happiness and

Prosperity

Simeon Aller Wesley Smith
and

Du Pont Pathe Film Mfg. Corp.

January, 1931 The INTERNATIONAL PHOTOGRAPHER One

C O L O R

with your Bell & Howell

A fact of interest and importance to cameramen and producers— your
regular Bell & Howell Cameras can be used for the Bi-Pack color processes.

A special intermittent mechanism, an adaptation of the famous
B & H pilot pin mechanism, is used to handle the two negatives. This
unit is readily interchangeable with the regular, ultra-speed, or silenced
mechanisms. Simply by changing this mechanism and, of course, the
magazine and the film, any Bell & Howell Camera can be converted
for color from monochrome, and vice versa, at a moment's notice.

The new mechanism is so constructed that the focal plane of the
Bi-Pack films (which are run emulsion to emulsion) is in exactly the
same position as the focal plane of the black and white film in the
regular mechanisms. There is no necessity for any change or adjust-
ment on the camera itself — the focusing ground glass is left in the
standard position.

♦ ♦ ♦

The new Cooke Speed Panchro and Panchro lenses are also ideal for
Bi-Pack color processes, as they are corrected to the wave lengths
utilized by the Bi-Pack emulsions. Their special correction adapts
them equally well for modern monochrome work with panchromatic
film and incandescent lighting.

Write for further information on B & H Cameras or these new
Cooke lenses.

BELL & HOWELL

BELL&HOWELL CO., 1849 Larchmont Avenue, Chicago, Illinois
New York, 11 West 42nd Street • Hollywood, 6324 Santa Monica Blvd.
London (B&H Co., Ltd.) 320 Regent Street • Established 1907

Tivo

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Scene from "Morocco" — A Paramount Picture

NEW STAR

A
NEW SUN

N winning popularity for a new star good photog-
raphy is as essential as a good play and good acting.
National Photographic Carhons give the brilliant illumi-
nation and the same quality of light as natural sunlight.
The cameraman asks nothing better. Good photography
is assured by this new sun — the product of modern
research, up-to-date manufacturing facilities and
trained technical staff.

and the star will appreciate the comfort of

the stage — even with the maximum intensity of lighting
— when National Photographic Carbons are used.

NATIONAL

PHOTOGRAPHIC

CARBONS

BRANCH SALES OFFICES:

Proved by test the most economical form of studio
lighting. Maximum photographic light per watt of
electrical energy. A size for any studio arc lamp. . .

NATIONAL CARBON COMPANY, INC.

Carbon Sales Division ' Cleveland, Ohio
NEW YORK PITTSBURGH CHICAGO SAN FRANCISCO

Unit of Union Carbide I I ■ ■ and Carbon Corporation

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IN TE FNATIONA L
PHOTO GRAPHE R

Official Bulletin of the International
Photographers of the Motion Pic-
ture Industries, Local No. 659, of
the International Alliance of The-
atrical Stage Employees and Molt-
ing Picture Machine Operators •/
the United States and Canada.

Affiliated with

Los Angeles Amusement Federa-
tion, California State Theatrical
Federation, California State Fed-
eration of Labor, American Fed-
eration of Labor, and Federated
Voters of the Los Angeles Amuse-
ment Organizations.

Vol. 2

HOLLYWOOD, CALIFORNIA, JANUARY, 1931

No. 12

"Capital is the fruit of labor, and could

not exist if labor had not first existed.

Labor, therefore, deserves much th(

' higher consideration."- — Abraham Lincoln.

C O

N T

E N T S

Noiseless Recording Gets Nearer....

Varges Flies Over Mount Fuji

.19

Technicians Pass Wide Film and

Chicago

.24

Discuss New Recording

By Harry Birch

By Fred Westerberg

Thirty-Three Years Old Films

Regulating Density of Sound Track .

. o

Product of Eastman

.27

By H. C. Silent

Wherein We Set Forth Our Regrets.

.28

A Couple o' Columns

Amateur Department

.29

What Happens When Cameraman
Has Day Off

Real Romance of "Home" Films

.29

Hoke-um

With Portable Reproducer Operator

By Ira

In Memoriam — William Stuart Adams

.12

With Films Men's Club Finds Way

Looking In on Just a Few New Ones.

.14

to Boost Church Treasury

.31

By George Blaisdell

How Old World Artist Home Grew

The Joys of a Location (Cartoon) . . .

on Bleak Wasteland

.36

By Glenn R. Kershner

Picture Photographed by War Pigeon

.37

Technical Editors

The International Photographer is published monthly in Hollywood by Local 659, I. A.T.S.E.

and M. P. M. 0. of the United States and Canada
Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles, Calif., under

the act of March 3, 1879
Copyright 1930 by Local 659, I. A. T. S. E. and M. P. M. 0. of the United States and Canada

Howard E. Hurd, Publisher's Agent

George Blaisdell Editor Lewis W. Physioc 1

Ira Hoke ------ Associate Editor Fred Westerberg \

John Corydon Hill - - - Art Editor

Subscription Rates — United States and Canada, $3.00 per year. Single copies, 25 cents

Office of publication, 1605 North Cahuenga Avenue, Hollywood, California. HEmpstead 1128

The members of this Local, together with those of our sister Locals, No. 644 in New York, No.
666 in Chicago, and No. 665 in Toronto, represent the entire personnel of photographers now
engaged in professional production of motion pictures in the United States and Canada. Thus
The International Photographer becomes the voice of the Entire Craft, covering a field that
reaches from coast to coast across the nation.
Printed in the U. S. A. i^siH^2 at Hollywood, California.

Four

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Noiseless Recording Gets Nearer

Western Electric Announces New Process It
Declares Greatest Advance in Talking-
Pictures in Last Four Years

ANEW system for the recording
of talking pictures, designed to
eliminate extraneous sounds,
hissing and scratching noises, has
been announced by Electrical Re-
search Products. It is known as the
"New Process Noiseless Recording,"
and is claimed to be the greatest ad-
vance in talking pictures in the last
four years.

The new process will soon be in use
by many of the major producers. The
first picture using this new process of
recording is Paramount's "The Right
to Love," starring Ruth Chatterton,
now being shown.

The development of the process is a
result of many years' work on the
part of sound engineers to elimi-
nate the "ground noises" which have
marred the perfect enjoyment of talk-
ing pictures. Now it is possible to re-
cord and reproduce in theatres the
faintest of sounds without having
them "masked" or covered up by these
extraneous, hissing and scratching
sounds.

Every syllable of even the softest
spoken words, whispering and the
sobbing of a distressed heroine now
will become clearly audible. The new
process produces a greater realism
and is a great step toward perfection
of the talking picture.

Problem of Loud and Soft

"One of the major problems con-
fronting sound engineers has been the
extension of the volume range of
sound recording and reproducing," ac-
cording to H. G. Knox of Erpi. "This
means the ability to reproduce both
louder and softer sounds.

"There are, of course, two ways of
widening the volume range in record-
ing and reproducing. One is the re-
cording and reproducing of higher
volumes, which means the handling of
louder sounds. One obvious way to do
this is by increasing the amplifier
power and the capacity of the loud
speakers to handle it. This presents
practical difficulties in that it would
require new and more powerful the-
atre equipment.

"The second method is to broaden
the volume range by making it pos-
sible to record and reproduce sounds
of lower volume. To do this necessi-
tates reducing the extraneous electri-
cal, mechanical and photographic
noises heretofore recorded which mask
or cover up the desired sounds.

"In the theatre this means simply
the refinement and better maintenance
of its sound equipment. In recording-
it means the reduction of the electri-
cal and mechanical background noises
commonly called 'ground noise' so that
every syllable of very soft sounds,

such as whispering and sobbing, will
become clearly audible.

"One hushed gasp out of utter still-
ness may climax a dramatic crisis. A
single low word after a long silence
will startle the waiting audience. It
is the successful solution of this prob-
lem that makes the new process of
noiseless recording possible.

Increase in Sensitiveness

"The new method of recording re-
quires some additional equipment and
changes in the present recording sys-
tem, which produce a tremendous in-
crease in sensitiveness to sounds that
are to be recorded.

"Motion picture audiences are well
aware of the hissing or scratching
sound which becomes audible as soon
as the sound apparatus is switched
on. In other words, during the silent
introductory title of a picture every-
thing is quiet. Just before the record-
ed portions of the film start listeners
are warned of the coming sound by
the scraping ground noise coming
from the screen.

"While in good recording this
ground noise is not particularly offen-
sive, it nevertheless means that any
whispers or low level sounds on the
film must be raised artificially to a
relatively high volume if not to be
masked by the noise of the system
itself. During normal dialogue or
music the presence of the ground
noise fades to relative unimportance
and, of course, during loud dialogue
or heavy passages of music it is com-
pletely covered up. It is, therefore, a
question of making 'silence' silent.

Removing the Mechanical

"While the problem can be simply
stated, the method for its solution has
been many years in the making. At
last, however, the film recording ma-
chine has been so modified that all
audible evidences of its mechanical
nature have been removed, and under
the new process it is possible to record
the lowest whispers in thrilling si-
lence.

"Fortunately this innovation comes
at a time when audiences are demand-
ing more realistic sound and at a time
when producers are using less dia-
logue and more silence. To be effec-
tive the silence must be complete.

During dramatic periods the ex-
pression will soon be true, even in a
talking picture theatre, that 'it was so
quiet one could hear a pin fall.'

"As with every startling improve-
ment higher standards of perform-
ance are involved. A standard of de-
veloping and printing of films higher
than the already exacting technique
of sound pictures is demanded. The
reproducing equipment in theatres
will likewise require most careful

grooming and maintenance if it is to
handle noiselessly pictures recorded
in this new way. By and large, how-
ever, noiseless recording is the great-
est advance in talking pictures in the
last four years."

Technicians Pass Wide Film

find Discuss New Recording
By FRED WESTERBERG

A MEETING of the technician's
branch of the Academy of Mo-
tion Picture Arts and Sciences
was held at Universal City on the
evening of Dec. 11 under the chair-
manship of J. T. (Ted) Reed.

The meeting was held for two rea-
sons. One was to give further consid-
eration to the wide film problem, the
other to demonstrate noiseless record-
ing, a recent development of the
Western Electric System.

The salient features of silent re-
cording were demonstrated by H. C.
Silent of Electrical Research Prod-
ucts. Mr. Silent's complete paper will
be found elsewhere in this issue.

Mr. Reed stated it was his experi-
ence that the practical elimination of
ground noise had not increased the
problem of camera noise.

No added sound-pr-oofing of the
camera blimps was found necessary,
at least at his studio, he said.

Another point brought out was
that somewhat closer adherence to a
gamma of unity seemed advisable
from the standpoint of sound. The
problem stated in simple terms is
this: The sound technicians want to
develop the print to a lower gamma,
which means less time of development
and hence less contrast. They would
rather put their contrast into the neg-
ative.

Siamese Twins

The cinematographer, on the other
hand, from long experience has found
that contrast in the negative is not
desirable, that a soft negative and a
fully developed print produce the best
results photographically.

However, as long as sound and pic-
ture are Siamese twins these condi-
tions will have to be compromised as
well as possible. Under the circum-
stances one cannot very well tell the
other to jump in the lake.

The proposed discussion of wide
film faded out quickly when it was
found that the demonstration reels
had not arrived. Mr. Reed and Mr.
Du Bray spoke a few kind words for
the deceased. Mr. Reed sounded a
faint note of encouragement to the
cinematographer when he said that
perhaps after the current depression
is over and all phases of the problem
have been thoroughly sifted and vari-
ous groups persuaded to relinquish
their pet panaceas, then perhaps some
standard might be adopted.

Believe it or not, but the meeting
closed with a reel showing among
other things how to catch a goe-duck,
which is reallv not a duck at all. It is
a clam, but what a clam!

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Five

Regulating Density of Sound Track

By Automatically Doing That at the Recorder

Technicians Have Reduced Materially

Effects of Ground Noises

By H. C. SILENT

Development Engineer Electrical Research Products, Inc., in Paper

on "Noiseless Recording Western Electric System"

Read Before Academy Technicians

IT IS common knowledge that, when
a sound print of the variable den-
sity type is played in a reproduc-
ing machine, the volume of the repro-
duction is low if the print is dark and
if a compensating adjustment is not
made by turning up the fader. In ad-
dition, the ground noise of the film is
also low.

It has been a problem to take ad-
vantage of this latter fact with the
former methods of recording, because
the mere act of printing the sound
track dark, while it reduced the
ground noise, also reduced the volume
of sound from the film.

This, of course, was undesirable.
In the method of recording which is
now being employed, these undesir-
able effects are overcome bv regulat-
ing the density of the sound track at
the recorder automatically.

It is well known that there is a par-
ticular value of density or transmis-
sion of the photographic emulsion
which permits of the loudest volume
from the film without exceeding the
photographic limits of good quality.

Deviation from this point is possible
without distortion if the volume or
percentage modulation applied to the
film is reduced. This can be taken
advantage of by causing the film to be
dark on low volume modulation, and
as modulation becomes higher we
lighten the film to the point where it
has the greatest possible carrying ca-
pacity.

Noise Worst in Quiet

If this can be done without distort-
ing the volume of sound reproduced
by the film, then we shall have a con-
dition where the ground noise from
the film is low during periods of low
sound. Thus quiet intervals in the
sound will be quiet, and the ground
noise, even though it rises with the
sound, will always be more or less
drowned out by the increased sound,
so that there is an effect of consider-
ably reduced ground noise.

In other words, there is produced a
constant signal to noise ratio in which
the signal is always very predominant
over the noise, and since the noise is

most noticeable in the quiet intervals,
there is a very real reduction in the
amount of the ground noise.

There are a number of methods by
means of which this variation in the
transmission of the film can be effect-
ed. If we examine for a moment the
light-valve employed in the Western
Electric system of recording we shall
see how one of these methods can be
applied. In the past this system has
employed a light-valve in which two
ribbons were normally spaced .001"
apart.

These ribbons were vibrated by the
sound currents, movin" but a slight
distance on weak currents and a con-
siderable distance on loud currents.
The strongest currents would just
bring the ribbons into contact as they
vibrated. The space between them
was therefore greater than necessary
to permit the free vibration of the
ribbons on weak currents.

Vibrating Ribbons

A sound track recorded under this
method had a constant density cor-
responding to the one mil spacing be-
tween the ribbons and this density
was caused to vary with the voice cur-
rents but maintained always its con-
stant average.

Under the new system of recording
an auxiliary electrical circuit is asso-
ciated with the light-valve, so that
when the sound currents are small
and the ribbons need vibrate over but
a very small amplitude they are
brought close together and this small
vibration almost entirely fills the
space between them. Then as the
sound increases in loudness, so that
the ribbons are required to vibrate

DEN

SIT*

3 1 .2 .3 4

S .7 .0 9 10 U 12 0 I* L

5 I

8 0

100 90 80 '0 60 50 40

/
/

RJLL

OPEN

4 <u

1— vW

v mi-

i OPEI

iilMG

-MAR

GIN

/
•

N.I

l-NOI

SE RE

DUCT

/
/

Figure 1 (left) — Approximate variation of reproduced noise vs. density of soioitl track. Figure 2 — Light votive

carrying capacity vs. input.

Ten

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Al Brick Tells of 1925 Eclipse Shooting

OUR Brother Al Brick, writer of this com-
munication, is not only a first class cine-
matographer, but he is a veteran and ex-
pert aviator. He was formerly an instructor
of flying- at both Kelly and Mitchel Fields, and
has to his credit more than 900 after-war hours

Charles Lehman at his camera. Inset, Al Brick

flying with passengers and on photo-
graphing trips.

Here Brother Brick tells interest-
ingly of his experience photograph-
ing the total eclipse of the sun, in
New York City, January 24, 1925:

Two months before the eclipse I
started working and getting informa-
tion on it. I first went to see Dr.
David S. Todd, professor of astron-
omy of Amherst University, and what
he told me about the sun was surely
a lot more than I ever learned in
school. To show this astronomical
event on the screen, he said it would
be necessary for me to have a 50 inch
lens. This took my hat off, as where
could I get a lens with a 50 inch focal
length? He told me and I got it.
Then I begged another brother cam-
eraman, Charles Lehman, of Local
644, to help me. We secured a Debrie
camera and mounted this F. 4.5 lens
on it. This lens had no diaphragm, so
we made one with about an F. 16
stop ; also used a red filter, as every-
one knows shooting the sun was a
bright subject; then when the total-
ity came we had to shoot wide open
and take the filter out, as it was so
dark that it looked like night and
there was nothing on the film, shoot-
ing with the lens and shutter wide
open and one picture cranking.
117 Seconds to Work

The totality from start to finish
was less than two minutes (117 sec-
onds). As the sun started to show
from behind the moon we had to put
our filter and diaphragm back again;
we also had to crank it all one picture
cranking, as we had only 400 foot
rolls of negative. The time the eclipse
started was 8:05 a. m., and finished
at 10:08 a. m, just a little over two
hours The totality was at 9:14 a. m.,
and we had to get it all in on 400 feet,

so we had to space our cranking, and
this was done very successfully. Next
our problem was to pan and tilt the
camera so it would stay with the sun
as it traveled. We put two motors on
this and it was some job, as we had
to gear it so that it would move with
the sun at this time of day, so it will
be seen that we could only try it out
every morning between 8 and 10
when the sun would shine, and we
surely lost a lot of mornings with
clouds.

The clouds gave us something else
to worry about, for if it should be
cloudy on the day of the eclipse there
would be no pictures from the ground
and the movie fans could not see the
eclipse. As T understand it, the eclipse
happens only every 100 years in the
same place, therefore, to make sure
we would get a picture of it, I ar-
ranged for a plane from the army
field to fly above the clouds and get
what we could with a 12 in. lens on
an Akeley, which would be very small.
We made the lens solid to the frame
of the camera, so that it would not
vibrate.

When everything was all set for the
morning of January 14, I let Charles
Lehman run the camera with the 50-
inch lens on the ground while I went
up eighteen thousand feet in the army
plane. Well, it was a very fine morn-
ing, clear and cold, and Lehman got
very good shots, while I got shots you
could not see and two frozen legs.

The camera used by Lehman, as I
have said, was a Debrie and a box
tube with the lens mounted on it. I
had light rings in the wooden box-
like tube and the lens was centered to
the aperture of the camera. We drove
the camera with a motor that would
flash one pcture at a time, as we de-
sired, always stopping with the shut-
ter closed.

GOERZ

CINE LENSES/

are optically accurate
and photographically
effective.

Kino-Hypar f:2.7 and f:3,
35 to 100 mm. focal lengths.
Simple in design . . . con-
sists of only three lenses
. . . affords microscopic
definition in the image.
Free from flare or coma.
Fine covering power.

Telestar f:4.5, V/& to l3l/2"
focal lengths — an ideal
telephoto series for long
distance shots and close-
ups . . . excels because of
practical absence of dis-
tortion.

Cinegor f:2 and f:2.5, a
Superspeed series; ideal
for work under unfavorable
light conditions.

A new catalog listing the com-
plete line of Goerz Lenses and
Accessories will be mailed on
request.

C.RGOERZ AMERICAN OPTICAL Co

319 B EAST 34™ ST. NEWYORKCITy

Wants to Know What's Said

According to a recent report from
Trade Commissioner George R. Canty,
in Paris, with the absence of the
French and German "talkie" the Am-
erican film is non-existent in Switzer-
land, except for the films of certain
well known stars, states a German
press report.

The Swiss public is asking for
talkers in a language it understands,
naturally. In Italian Switzerland
the Italian film is popular, but the
French and German film finds a ready
market in all other parts of the
country.

Pratt Will Boss West

George C. Pratt, for many years
vice president, director, member of
the executive committee and general
counsel of the Western Electric Com-
pany and also a director and general
counsel of Electrical Research Prod-
ucts, has resigned these appoint-
ments and offices. He has been elected
a vice president of Erpi and will also
assume new duties as special counsel
for that company.

Pariche Flies to San Juan

Esselle Pariche, who is spending
the winter in the South, writes from
San Juan, Porto Rico, that he made
the trip from Miami by air and will
return to that point through the West
Indies. He says he is getting some
worthwhile material from the air and
on the ground.

January, 1931

T h

Plane Language

Lyman Broening's young son, Al-
bert, recently experienced the misfor-
tune of dropping his dad's pet cast
iron plane on the cement floor of the
workshop. The result was disastrous.

That afternoon when quiet reigned
once more on the Broening homestead
his mother asked Albert what his
daddy said when the plane was broken.

"Shall I leave out the swearwords?"

"Certainly," said his mother.

Albert pondered a moment, then
sprung this one:

"In that case he didn't say anything,
Ma."

And Sweet Sixteen?

Nowadays a girl is never "fat."
She's 70 millimeter.

Dog Star?

Amateur Astronomer — Can you
name a star with a tail?

Amateur Photographer — Sure. Rin-
Tin-Tin.

Those Hollywood Boys

First Chorus Girl — Gosh, that ham
actor is vain. He's been in front of
that make-up mirror for an hour ad-
miring his good looks.

Second Chorus Girl — That ain't
vanity, Betty. That's imagination.

Figures Don't Lie

Director — Cleopatra is one of the
most remarkable figures in all history.

Actor (coming out of trance) — Is,
or had?

Them Days Are Gone Forever

Advertisement in Newspaper — No
one has ever lost a penny in the Guar-
anty Building and Loan Association.

Supercargo

Editor Blaisdell — Yeah, I'm going
out to plav golf Thanksgiving morn-
ing, and then by way of creating an
appetite shall hit up the fresh wine —

INTERNATIONAL PHOTOGRAPH

— — -_ „ IT.

E R

Eleven

Hoke- urn

By Ira

although that will be what the cub re-
porters call a work of supererogation.
John Hill (almost audibly) — You
mean superirWgation?

Scarcely Ambidextrous

First Cameraman — Jimnr- the as-
sistant, says he wants a wife like
Venus de Milo.

Second Cameraman — Kinda par-
ticular, isn't he?

First Cameraman — Not exactly. He
says when they come like that they
can't throw things at him.

Quick, Watson!

Assistant Cameraman — That second
cameraman told a pack of lies about
me.

First Cameraman — You're lucky.

Assistant Cameraman — Whadda ya
mean lucky?

First Cameraman — Certainly. Just
suppose he had told the truth.

What Part?

First Actor — I played the father of
the heroine in that famous play,
"Money, Mortgage, or Sink."

Second Actor — Was it much of a
part?

First Actor — I should say so. I was
supposed to have died twenty years
before the play began.

The Good Old Days

Sign on steam shovel excavating
one-half of Sunset Boulevard for new
paving.

"Quit kicking — This was once a
cowpath.

The Height of Something

The night following the closin"- of
the doors of the Guaranty Building

and Loan Association the janitor evi-
dently forgot to turn off some of the
lights, for above the building in its
accustomed brilliance flamed all night
long the big electric sign

"Guaranty Pays 6% on Your Sav-
ings."

Best Seller

First Cameraman — I hear Jimmie
quit the camera game. Did he inherit
some money?

Business Agent — No. He invented a
radio device which turns off the set
whenever a jazz orchestra comes on.

This Is a Hard One

First Asst. — See that actor over on
"B" set?

Second Asst. — Yeh. What about
him?

First Asst. — A town in Massachu-
setts is named after him.

Second Asst. — No foolin'! What
town?

First Asst. — Marblehead.

Couldn't Help It

Assistant — My eyes are weak.
Cameraman — That's not strange.
They grew in a weak spot.

Shocking

M. Hall — This is my electric suit.

Henry Prautsch — Your electric
suit?

M. Hall— Yeh. I wired for it, and
had it charged.

Recorder Not Ready-
Mixer — I don't know whether to go
to the wedding or not.

Electrician — Who's getting married ?
Mixer — I am.

Page Beesemeyer

Maury Kains will now sing that
favorite Scotch song entitled "For
Two Cents I'd Throw This Penny
Away."

May Be All Right in Russia,
But Don't Try It in America

A RECENT number of the Kras-
nafa Gazeta, of Moscow, carried
an item in connection with cine-
mas that may seem somewhat aston-
ishing to persons unfamiliar with
present-day conditions prevailing in
the Soviet State.

The item, in short, consists in the
announcement that admission to cin-
emas may now be secured at certain
houses in exchange for payment in
kind.

Old galoshes are prominently men-
tioned in this connection. Old clothes,
bags, small amounts of potatoes, eggs,
flowers, etc., also are accepted. It is
for the box-office cashier to judge
whether or not the various odds and
ends presented are sufficient to jus-
tify the admission of the prospective
patron.

Such conditions are probably par-

ticularly prominent in the rural dis-
tricts (covering practically the en-
tire country), where the shortage of
currency is most felt

However, the extraordinary gen-
eral poverty of the population and
the enormous prices of every victual
or manufactured product (a worn-
down second-hand pair of shoes often
costs more in Moscow than a pair of
brand new ones in Europe) probably
has been contributory in creating this
situation.

stalled two American sound and talk-
ing film outfits.

A new theatre is to be constructed
by Arnaldo Roco in La Plata. It will
have a seating capacitv of 1500 ana
be the largest house in the city. It
is expected to be open to the public
by the end of Febiuary.

South America Building

An important new motion picture
theatre, the Broadway, has just been
opened to the public in Buenos Aires,
bv its proprietors, Emsesa Augusto
Alvarez. The theatre has a seating
capacity of 2000, is provided with a
modern American installation cost-
ing 30t>,000 pesos of ventilating and
air heating and cooling machinerv de-
signed to insure the comfort of the
patrons in all seasons, and has in-

No. 15 Men on Job

Director Monta B^ll is making
scenes for "Fires of Youth," the
drama which stars Lew Ayres with
Genevieve Tobin featured, and the ac-
tion takes place in the mailing room
of a metropolitan newspaper. To ob-
tain the utmost in realism, Bell is not
depending on regular motion picture
extras for the scene, but has engaged
an entire mailing room crew.

These fifteen men are all members
of Mailers Union No. 9, and are seen
in swift action, wrapnin an entire
edition of the paper for mailing. A
number of the men will be heard as
well as seen.

Twelve

The INTERNATIONAL PHOTOGRAPHER

January, 1931

In zJXCemoriarn

William Stuart Adams, died December
■1, 1930, following a relapse believed
to be due to the effects of jungle fever
contracted while in the East with
"The White Captive" company and
which caused his return home before
the completion of the production. A
widow and two children survive, as
well as a brother, J. Stuart Blackton.
Mr. Adams served overseas in the
Signal Corps. He was a member of
Clinton Lodge of Brooklyn as well as
of Local 659. Burial was in Holly-
wood Cemetery with Masonic rites

Wilcox Now Vice President

in Charge Erpi Operations

AT A MEETING of the directors
of Erpi, Herbert M. Wilcox was
elected vice-president in charge
of operating-. Wilcox has been operat-
ing- manager of the company, having
had charge in that capacity of In-
stalling and servicing Western Elec-
tric talking picture apparatus.

Wilcox has been associated with
President J. E. Otterson for fifteen
years. When Erpi was formed in Jan-
uary, 1927, Wilcox went along with
the new organization as operating
manager.

In this latter connection he has
seen the department grow from a nu-
cleus of six to a present day nation-
wide organization with a personnel
of 1250. It maintains offices in 38
cities from which are serviced some
4800 theatres equipped with sound
systems.

Crabtree Names Committees

Appointments for the personnel of
the committees to serve the Society of
Motion Picture Engineers for the fol-
lowing year have been made by J. I.
Crabtree, president.

The committees and their chairmen
are as follows: Color, W. V. D. Kel-
ley, DuChrome Film Systems, Holly-

wood; convention, W. C. Kunzmann,
National Carbon, Cleveland; member-
ship, H. T. Cowling, Eastman, Roch-
ester; papers, 0. M. Glunt, Bell Tele-
phone Laboratories, New York; prog-
ress, G. E. Matthews, Eastman, Roch-
ester; publicity, Will Whitmore, Erpi,
New York; historical, C. L. Gregory;
sound. H. B. Santee, Erpi; standards,
A. C. Hardy, Massachusetts Institute
of Technology, Cambridge; studio
lighting, M. W. Palmer, Paramount,
Long Island.

Non-Commercial Indies to
Hold Convention in Brussels

THE second Congress of the In-
dependent Cinema — the first
meeting took place in Switzer-
land last year — was this year held at
the Palais des Beaux Arts, Brussels,
from November 28 to December 1.
The meeting reunited most of the
European producers, writers and crit-
ics who have devoted some part of
their activity to non-commercial film
production.

Two public festivals, one of which
was devoted to the silent film and the
other to talkers, were held. The si-
lent film festival was devoted to top-
ical films and adventure in cinema
work. A series of reports was pre-

sented. The debates concerned three
questions: The international organ-
ization of cinema clubs, intellectual
film production, and, lastly, the rela-
tions between the cinema and intellec-
tual life in general.

The debates were held in three lan-
guages— in English, French, and Ger-
man. The Professional Film Press
Association and several groups of
authors agreed to patronize this Con-
gress.

Adolphe Osso Extending

M. Adolphe Osso, head of the So-
ciete des Films Osso, has just re-
turned from Brussels, where he is
planning to establish the Belgian
Societe des Films Osso. The Osso
company also will have branches in
Geneva, Cairo and Algiers, and agen-
cies in the French key cities — Lvons,
Lille, Bordeaux, Strasbourg, and Mar-
seilles.

Gaumont Sends Mission

A special mission of technicians
has been commissioned by Gaumont
of Paris to visit the principal film
trade centers of the world. The mis-
sion is authorized to study the equip-
ment of the ideal sound film studio.
The first objective of *~he mission will
be London.

77ms striking camera study might have been photographed on African sands, but it wasn't. We have the
perfectly good word of Woodbury its subject is none other than Nigel De Bruliere, photographed in char-
acter nearly a decade ago in a Hollywood picture the title of which long since has been forgotten.

Here is a picture of
an occasionally
turbulent bit
of the homestead
of Uncle Sam —
in Mount Lassen,
his only active
volcano within that
boundary. It ivas
photographed by
Edward B. Anderson
from Reflection
Lake, not so far
from the summit
of 10,480 feet
elevation.

While location

hunting in the

high Sierras

A. Schoeubn a in

pauses a moment

and photographs

this spot where

Rush Creek enters

Silver Lake.

A fishin' rod and

corncob would

seem to be indicated

— yes, and the

right kind of bait.

>5^.

@ream oth Stills

«.*!^?0*

°6rk*v

Perhaps after all

that corncob and

fishin' pole should

have been reserved

for this canal

in Phoenix —

whether there be

any fish in it or not.

Paul Ivano

surely picked out

a paradise for

a lazy man, one

on which even

a go-getter well

might stub his toe.

And speaking

about bait —

William Grimes does
not propose to be
outdone in the way
of teasing a loafer;
he contributes this
alluring bit of
recreation ground as
he saw it in the
private Buseh
gardens in Pasa-
dena. Don't gaze
too long on that
settee under the
big oak.

@ream at ft Stills

Bert Lynch shows us the view from the fort at Mazatlan, Mexico, as old Sol

fiery departure for the day.

getting rendu to put on a

January, 1931 The INTERNATIONAL PHOTOGRAPHER Thirteen

It's to Your Interests

IT is becoming common knowledge that in
Eastman Panchromatic Negative, Type 2,
there has been grouped the greatest combi-
nation of film qualities ever placed at the
disposal of the cameraman, director and pro-
ducer. From its remarkably accurate and uni-
form panchromatic balance to its tough, wear-
resisting base, it offers you every opportunity
to convey your art unimpaired from lot or
studio to the screen. If you are not already
using Eastman "Pan," Type 2, it is decidedly
to your interest to try it in your next picture.

EASTMAN KODAK COMPANY

ROCHESTER, NEW YORK

J. E. Brulatour, Inc., Distributors

New York Chicago Hollywood

Fourteen

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Looking In on Just a Few New Ones

Lincoln

Karl St runs, Cameraman

GRIFFITH has scored again. He
has done more than build a
drama and simultaneously to
create entertainment. As Arhss did
for Disraeli and for England so he
has done for the Great President and
for the United States.

He has made to live again more
than sixty-five years after his pass-
ing a world historical character;
painted him not as he is idealized in
the school books, but with swift
strokes shown the man as he was
from his majority to his death, in his
failures and his victories, in his
weakness and his strength; vivid al-
ways, flashing from moments of gay-
ety to periods of despair.

One series of scenes alone, all too
brief and yet how long they seem—
those between Lincoln and Ann Rut-
ledge — will stand out as long as a
print shall survive the wear of the
elements. For poignancy they will
hold equal rank with that scene of
Henri Kraus as Jean Valjean in the
old Pathe version when he buys a
doll for a child; or with Rene Adoree
when as a French peasant in "The
Big Parade" she tries to maintain
pace with the truck bearing away her
American lover.

In all these scenes Griffith has had
a great and an equal partner — Wal-
ter Huston. This actor's previous
work on the screen, brief but of wide
range, leads one to expect much of
him as Lincoln. The expectation is
justified, even bettered.

In the selection of his supporting
cast the director shows no diminu-

By GEORGE BLAISDELL

tion of the judgment that has marked
his previous choices of the men and
women who play the parts of his pic-
tures, although it may be remarked
that always has he seemed to lean
more heavily on his own intuition of
a given actor's ability and his own
skill in being able to extract from
that player the particular quality he
sought than in any discoverable rev-
erence for the great mogul Box Office
Name.

His selections in the present in-
stance have been happy ones. Una
Merkel as Ann Rutledge bulks big in
a brief part. Kay Hammond as Mary
Todd sacrifices her own feelings in the
portrayal of the historically ambi-
tious, domineering woman who was
the first to sense the greatness resid-
ing in the uncouth country legislator,
to pierce the veil of the future and
trace the outlines of the high road he
would travel.

Hobart Bosworth will be eminently
satisfactory to the South in his por-
trayal of General Lee and so, too,
most surely will Henry Walthall as
the general's aid. Then there are Os-
car Apfel as Stanton and Fred War-
ren as General Grant. The portrayal
of John Wilkes Booth falls to Ian
Keith, an interpretation strikingly
melodramatic as might have been ex-
pected of an actor of that period and
especially of one harboring that ac-
tor's ideas or illusions, if you will.

Stephen Vincent Benet's story and
the continuity and dialogue on which
Gerritt Lloyd collaborated palpably
were designed to avoid the pitfalls

that handicapped the exhibition of
"The Birth of a Nation." There was
no attempt at avoidance of the facts
of history, but there was no dwelling
on the phase of the black man.

The word "rebel," to which the
South in other years took such vio-
lent exception, is used with frequency,
but Lincoln is made to remark and
undoubtedly with entire truth that
"rebels are not traitors."

The treatment of Lee is most sym-
pathetic, with Lincoln giving him un-
stinted honor and deep respect for his
ability as a soldier and his quality as
a man.

The production has been strikingly
staged and finely photographed. There
are flashes of soldiers, in camp and on
the march. The departure of northern
troops and then of southerners for the
front constitute thrilling bits. But
war in its grimmer, physical phase is
minimized. What is emphasized is the
tragedy that rides behind the scenes,
in the days — and nights — of the man
who with thousands of soldiers made
the supreme sacrifice to the end that
the Union might live.

As a portrayal of that phase of
American history so, too, the picture
deserves to live.

This is a view not cf the "rockbound coast of Maine" which Robert Palmer and
his camera so enticingly present to us. Rather is it of the "golden shores of
California," of Carmel Bay from Monterey, photographed on a sunless day

ToPable David

Teddy Tetzlaff, Cameraman

THE commendatory language that
has been employed in describing
the acting ability of Richard
Cromwell during the making and fol-
lowing the completion by Columbia of
"Tol'able David" would seem to have
been justified in reasonable degree. If
his appearance in the name role of
this picture represents his initial
work before the camera then indeed
has he "got something on the ball."

It was good business for Columbia
to fortify and insure itself by sur-
rounding the lad with an unusually
competent cast, but so far as the new-
comer was concerned it was not essen-
tial. The precaution merely resulted
in lifting what would have been a
good picture into one of smashing
proportions - - incidentally thereby
swelling the gross receipts enough
several times to cover the added ex-
pense.

Two important contributing factors
were supplied by Benjamin Glazer,
who prepared for the screen this tale
by Joseph Hergesheimer, and John
Blystone, the veteran who directed it.
Restraint was the outstanding char-
acteristic in the interpretation of this
grim story of mountaineers whose life
and work teach them to think much
and talk little — and with deliberation.

There were times when the action
seemed slow, but it was not because
the tempo was illogical but rather
due to the impatience of the man out
front to see the sequence brought to
a head.

The story is not all drab; there
are lighter moments to lessen the ten-

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Fifteen

sion of the sterner drama brought
into the picture following the entrance
into the peaceful Hepburn home of
the three renegade relatives from an-
other town.

Joan Peers played the daughter of
Amos Henburn, interpreted by Henry
Walthall, a small part well done.
Helen Ware was Mrs. Kinemon, the
mother of David, her work standing
out all the way; Edmund Breese was
the deliberate elder Kinemon and
George Duryea the latter's elder son;
James Bradbury senior was the store-
keeper, who like others of his associ-
ates lifted into a major part what
might have been a minor; Barbara
Bedford was the young mother of the
infant Kinemon, who incidentally
stole the show the few moments it
held the screen, while Noah Beery,
Harlan Knight and Peter Richmond
abased themselves that there might
be a trinity of tough Hepburn eggs
to make the story possible. And they
surely were tough.

Those who by reason of vivid recol-
lections of the grim if interesting
predecessor of the present version
have hesitated to look in on the Co-
lumbia subject are overlooking a pic-
ture that is worth seeing, a well-
planned story finely made in all de-
partments.

The Right to Love

Charles Lang, Photographer

THE adaptation of Susan Glas-
pell's "Brook Evans" will be
much talked about in the days
to come following the release of "Tne
Right to Love." Contributing to that
will be several major factors. Two of
these stand out above the others.

In the first and most important
place, Paramount for one has got
down to earth, forgotten Hollywood
and its atmosphere or the atmosphere
of any other large community where
the few are convinced the world re-
volves around themselves, and made a
picture around "just folks." While
the average person may have no oc-
casion to convert his handkerchief
into a sponge, nevertheless the pic-
ture, because of sheer strength of
story, grips the beholder throughout
its seventy-five minutes of running.

Secondly, the production marks the
introduction to the public of the West-
ern Electric's new process noiseless
recording, claimed by its sponsors to
be the greatest advance in talking
pictures in the last four years. It will
be hard for the man in the street to
accept that statement as 100 per cent.

It is the expert who most readily
will grasp the importance of the in-
novation. Only too well he knows the
meaning of "ground noises," an ex-
pression beyond the ken of the lay-
man. There is one thing, however,
that instantly will impress the lay-
man as he watches the unfolding of
"The Right to Love," and that is the
absolute distinctness of the slightest
sounds constituting part of the dra-
matic action — a whisper, a sob so
faint as more truly to be a trace of
a sigh.

One of the first effects of the new
device will be the enjoyment experi-
enced by those of defective hearing.

While it is reliably reported the pic-
ture under review was partly com-
pleted before the noiseless recorder
was put to work, nevertheless it is be-
yond the realm of doubt that a real
boon has been bestowed upon the hard
of hearing. Though the foregoing
parallel is an exaggeration, at the
same time there is a basis for re-
marking the difference between the
old and the new is like the sudden ces-
sation of the buzzing, desultory con-
versation taking place in a room
where one person presumably has the
floor.

Coming back to the picture itself,
it is one most assuredly not to be
missed. Altogether it is pretty near a
one-person production, and that per-
son Ruth Chatterton. In many of the
scenes, because of her playing botn
mother and daughter, frequently two
of her are seen simultaneously on the
screen — and that phase of the sub-
ject, due to the boldness and skill
with which it is approached, consti-
tutes another story.

The background is of plain people,
some of whom are possessors of the
narrow minds found in farming com-
munities as in other places. Tragedy
early stalks into the tale, flowing nat-
urally from a sequence of events
most simple and logical in inception.
From the moment the sweetheart of
Naomi Kellogg is killed in a thrash
ing machine, mirth ceases as an en-
tertainment factor.

It is a grim life ahead of the girl
who soon after knows she is destined
to become a mother. That she wel-
comes the prospect in that her lover
will live again gives an eerie, uncanny
touch like that bestowed by mild in-
sanity, but convincing all the way.

Oscar Apfel is thoroughly true to
the life in his portrayal of the farmer
with the direct mind who beyond the
good name of his daughter sees noth-
ing. Equally homelike and convincing
is Veda Buckland as mother of Na-

omi. Irving Pichel as Caleb Evans,
whose wide-eyed offer of marriage to
the expectant mother the latter's
father induces her to accept, provides
another strong interpretation of rural
Puritanism paralleling that of Apfei's.

Paul Lukas, whose name appears
second in the billing does not enter
the production until it is at least sev-
en-eighths down. His all too brief
appearance contributes to the strength
of the finale, that of the wooing of
the American girl who comes to a
sudden conclusion to be less of a sap
and more of a human.

It cannot exactly be said the cast
bristles with names of box office
value, a fact at any time devoid of
significance so far as concerns quality
of acting. The producer-distributor
very likely will discover this strong
story so competently and sincerely
played by all in a long line under the
sympathetic direction of Richard
Wallace that it very quickly will reg-
ister as a genuine hit.

Cameraman Lang took measures to
see the sound men did not bag all the
honors on the recording side. The pic-
ture is only a few hundred feet on its
way when the photographic angle for-
cibly is borne in on the consciousness
of the beholder — especially the trav-
eling shots by the brookside.

Min and Bill

Harold Wenstrom, Cameraman

THE M-G-M production of "Min
and Bill" was several weeks
down at the Carthay when this
reviewer got his first lok at it. Be-
tween the opening night and the
aforesaid initial view much had been
heard regarding the pictm-e — without
the utterance so far as had been ob-
served of a single funeral note.

As a consequence expectations were
high — probably too high. The unprec-
edented forethought of removing a

There is a svggestion of stem drama, a reminiscence of turbulent days, of low-
spoken, serious Vigilantes, in Mr. Palmer's peaceful scene of early morning
mists and this ages-old veteran of the California Redwood Highway

Sixteen

The INTERNATIONAL PHOTOGRAPHER

January, 193 1

At the suggestion of Joe Walker, Carl
O. Swenson has designed and built a
practical fade in and out attachment
for a Mitchell camera either in a
blimp or booth. It may be attached
without drilling extra holes. Arms
may be detached by loosening thumb-
screw when camera is used on the out-
side of booth or blimp. The arms are
operated from, outside the booth by
two small flexible cords

handkerchief from its accustomed ple-
beian niche on the hip to the more
patrician abode in the upper, outer
coat pocket proved to be an action en-
tirely unnnecessary. As a measure of
preparedness it was a total loss.

But it's a mighty good picture for
a' that, especially for those who have
seen life from the angle of those of —
and there pops up that plebeian thing
again. Anyway, it is a tale of the
water front, of those who make their
living on the water and of those who
make their living from those of the
immediately mentioned category. It
is a tale of plain people, some of them
workers and wholesome and at least
one who seemed to toil not neither did
she spin, but nevertheless was she ex-
ceedingly interesting.

The strength of the story rides in
four characters — Min and Bill, played
respectively by Marie Dressier and
Wallace Beery; Nancy, the waif be-
friended by Min, portrayed by Dorothy
Jordan, and Bella, who proves to be
the mother of Nancy, in the life
Marjorie Rambeau.

Here are three veterans who would
make much of even a weak tale. And
it is in the convincing performance
of this trinity that is to be found the
reason for the "pull" of the story
which persists from the openng to the
finish.

The dialogue of this waterfront tale
is noteworthy, and for it the credit
goes to two women — Frances Marion
and Marion Jackson. It has the qual-
ity of spontaneity; in other words, of
expressing the characters in their own
language, not only those of the fem-
inine persuasion but of the lesser num-
ber of the masculine as well.

For after all the story is mainly of
women — of a boarding house keeper
who befriends from childhood the
daughter of a mother who, speaking
conservatively, follows ways quite un-
conventional.

The conflict comes in the efforts of
the old woman to protect the girl
growing to womanhood especially from
knowledge of the mother and incident-
ally from attentions of those men she
mistrusts, and on the other side of the
house to keep the mother from know-
ing even that the child is living.

The finish is a tragedy of blood that
there may be no tragedy of the soul —
that the daughter at last may have a
break and be happy and that the black-
mailing mother shall in no way inter-
fere with the even tenor of her peace-
ful existence. It would seem to qual-
ify as a happy ending in spite of the
tragedy.

George Hill directed, and commend-
ably.

Doorway to Hell

Barney McGill, Cameraman

THE chief exploitation line em-
ployed by Warners in its adver-
tisements of "Doorway to Hell"
set forth that this was the subject
"gangland dared Hollywood to make."
If the statement have any more foun-
dation than the brainstorm of an alert
advertising man it is difficult to un-
derstand. Certainly the picture is the
first agency yet uncovered possessing
any tendencv to humanize or make
less disreputable or in any manner
to palliate the trade of bootlegging
killer.

Instead of daring Hollywood to
make the picture the parties allegedly
quoted, if they be more than mythi-
cal, should have expressed willingness
to pay several millions for its mak-
ing.

The production was one that stood
high enough in the official Warner es-
timation to be given a dual presenta-
tion in Hollywod and downtown Los
Angeles. The public response to the
confidence reposed seemed to indicate
it was fully justified.

Those members of that sizable pro-
portion of picturegoers who abomi-
nate underworld stuff but went along
in order to see Lew Ayres were am-
ply repaid. If they went fully ex-
pecting to scoff they remained to
praise.

The factors contributing to this re-
sult were practically all that enter
into the making of a picture — story,
dialogue, script, direction, photogra-
phy, sound, acting and editing.

Archie Mayo's direction was nota-
ble, a statement which seemingly
falls short of the mark. The script
was from a story by Roland Brown,
with dialogue by George Rosener.

One who for the first time looks
upon the screen work of Ayres in this
pictue is pretty sure to be deeply im-
pressed by the capacity of this young
man for portrayal of serious roles,
whether dramatic or tragic. He has
the earmarks of experience — abun-
dance of poise, the words flow trip-

pingly from his tonp^e and as if they
were his own, and he is convincing al-
ways whether smilingly suave or
frigidly menacing.

Why the producers choose to exploit
James Cagney along with Ayres as
chief in interest is their own busi-
ness— really of course due to Cagney
having been placed under contract.
The work of this player in an un-
sympathetic part is entirely satisfac-
tory; in fact, worthy of praise.
But in the particular picture under
discussion Robert Elliott, playing
O'Grady, captain of detectives, is the
only person whose part and whose
performance are of a quality enti-
tling him to share honors with the
leading player. They are as distinc-
tive if not even more so than were
those of Thomas Jackson, the inter-
preter of the screen detective in
"Broadway." It was Elliott, by the
way, who created the stage detective
in "Broadway."

The cast is top notch, with Dorothy
Mathews in the role of the unfaith-
ful wife of the hero; young Leon Jan-
ney as the brother of the latter;
Kenneth Thomson as the major of
the military academy, and Jerry
Mandy and Noel Madison as gang
leaders.

Follow the Leader

Larry Williams, Cameraman

NOT without reason aplenty is
Ed Wynn an idol of the New
Yorker, male and female. His
characterization, by himself or other-
wise, as the perfect fool is entirely
within the truth. Not only is he the
perfect fool, but he does and says
things that in the hands and mouths
of others are absurdities, just plain
silly; coming from him they may be
devastating in their fun.

In the present instance Para-
mount's New York studio has provid-
ed Wynn with a skeleton of a story,
even with one partly clothed, taking
for its purpose the musical comedy by
William K. Wells, George White and
De Sylva, Brown and Henderson.
Gertrude Purcell and Sid Silvers were
responsible for the screen play, with
Al Parker staging the dialogue. Nor-
man Taurog directed.

"Follow the Leader" is of New
York, of gunmen and of the stage.
It is as an ex-vaude turned wai.er
that Crickets is deserted by the gang
of Hudson Dusters to serve a bad
man of fierce reputation, the while
they hide in an adjoining room.
Through an accident the b. m. is
floored, with the result Crickets
against his wishes becomes gang
leader.

But why waste space talking about
a plot? Aids and abettors in the tom-
foolery that runs through the picture
are Ginger Rogers, feminine lead;
Stanley Smith, Lou Holtz, whose Jew-
ish characterizations may be a riot
in New York and may not be in many
smaller communities; Lida Kane, Eth-
el Merman and Bobby Watson.

If you want to laugh surely some
and maybe much don't miss Ed Wynn.
(Continued on Page 18)

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Seventeen

THE. T075 Or A LOCATION

Eighteen

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Looking In on Just a Fezv Nezv Ones

(Continued from Page 15)

And without any fear you make take
along the family, old and young. And
if one thinks he is himself something
of a fun-maker he will have opportu-
nity to learn — perhaps — how to knock
'em over with bare hands and seem-
ingly empty head.

The Command Performance

Charles Schoenbaum, Cameraman

JAMES CRUZE is credited with
presenting "The Command Per-
formance," from the play by C.
Stafford Dickens and produced by
Samuel Zierler. Cruze also is and al-
ways has been credited with being a
good showman — and a clean one —
which is a very substantial reason for
believing he is not responsible for the
intrusion into this picture of dialogue
bits that take it out of the family
class even as they invite the inter-
ference of the ever-eager censors.

The best thing in the picture is its
conclusion — and this is said not in
sarcasm but with entire sincerity. It
is a moving and dramatic sequence,
one that will top the finish of nine
out of ten major productions.

It attains this result in spite of the
fact the tale is of the "Prisoner of
Zenda" kind — of mythical kingdoms,
of costumes, of the takings of dual
roles by the male principal; in spite
of the fact the theme is one that gen-
erally has been accepted as long since

relegated to the limbo of threadbare
plots.

So when the action of the final se-
quence rises to real dramatic heights
we know it must have been of genu-
ine strength so completely to over-
come the preceding illusion killing
handicaps.

Maude Fulton and Gordon Rigby
wrote the continuity and dialogue,
which were directed by Walter Lang.
W. C. Smith and Frederick Lau su-
pervised the recording.

The subject, slated for Tiffany re-
lease, was staged in a manner becom-
ing a major production. At the head
of the cast was Neil Hamilton, play-
ing both Peter, an actor impressed
with his own importance, and Prince
Alexis, whose chief decision in life
seemed to be his determination not to
marry the Princess Katerina, charm-
ingly portrayed by Una Merkel. Inci-
dentally the working out of the tale
indicated the princess was not quite
so much of an all-around wicked ter-
ror as the dialogue would have led us
to believe. Apparently she was not
even mildly wicked.

Helen Ware as the mother of the
dissolute prince who declined to lend
his personal presence to the task of
wooing the princess of the neighbor-
ing principality handled her part as
her admirers expected her to do,
especially those who had seen and

heard her eloquent Defense of the
West in "The Virginian."

Albert Gran as the democratic
father of the princess supplied the
good humor and comedy, and not
even the king's ascribed addiction to
walnuts, with its opportunity for
cheap wisecracks, entirely succeeded
in destroying the flavor of his jolly
outlook on life. Lawrence Grant as
the premier carried the part with dis-
tinction.

Other players in an excellent cast
were Thelma Todd, Vera Lewis,
Mischa Auer, Burr Mcintosh, Wil-
liam Von Brincken, Richard Carlyle
and Murdock MacQuarrie.

And this is a gool place to reit-
erate it was Miss Merkel, aided by
effective dialogue and sympathetic
direction as well as by the foil sup-
plied by Hamilton, who in the final
sequence by the force and tenderness
of her appeal supplied the high spot
of the production and sent home in
highly chastened mood a somewhat
hostile preview house that had come
determined to chide.

Talkers Bring Dividends

The Sudfilm Company of Germany,
after having paid no dividend for the
four past years, now proposes a divi-
dend of 15 per cent. The sharehold-
ers meeting was held in December.

Sudfilm has had some outstanding
successes lately with the Richard
Oswald production "Dreyfus," the
Eichberg picture "Night Birds," and
Rene Clair's "Sous Les Toits de
Paris."

Complete Portable Sound Equipment
The

Audio Camex System

Camera Silencing

Cover

THIS IS THE FIRST CAMERA COVER TO

BE OFFERED TO THE CRAFT.

IT HAS BEEN MADE TO FIT A MITCHELL

OR BELL & HOWELL CAMERA.

PRICE — $50.00

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Nineteen

Varges Sails Over Japan 's Fuji and
Records Description for Fox Nezvs

ner in which the big, heavily loaded
craft was skillfully maneuvered on
every occasion when exceptional skill
was needed.

ON September 3 last, the first
sound pictures of Mount Fuji's
summit from an airplane were
recorded by Ariel Varges and Paul
Heise of the Fox Movietone News.
Heretofore the only pictures of the
locale were stills.

The flight took four hours, the
plane, a big tri-motored Fokker be-
longing to the Japan Air Transport
Company, leaving the field at Tachi-
kawa at 10:30 o'clock.

Although the sky was overcast
Varges decided to take a chance on
finding the cloud ceiling not thick
enough to hide the mountain's summit
and, as a result, he got what he be-
lieves are some of the most artistic
and beautiful "shots" that he has
taken in a long career of news photog-
raphy.

"We climbed the first 6,000 feet in
about a half hour and there ran into
the clouds," says Varges in describing
the ascent. "The cloud layer was
about 3,000 feet thick and it took an-
other half hour to rise through it. On
top of the ceiling the sun was shining
brightly and Mount Fuji was thrust
upward through the mist bank, pre-
senting a remarkably beautiful scene.

"Snow covered the summit and the
slopes almost down to the clouds, only
a small black band of earth being vis-
ible. We photographed it from every
angle, flying around it and over it. We
passed over the summit at a distance
of no more than 300 feet above the
crater."

Plane Fights Currents

The plane attained a maximum alti-
tude of 15,000 feet, which is nearly
3,000 feet higher than Fuji's crest.
Attempting to get closer to one side
of the great cone, strong upward cur-
rents combined with a stronger hori-
zontal gale shook the great craft like
a leaf which brought into play some
expert piloting on the part of P. S.
Torii, pilot, and M. Y. Suzuki, assist-
ant pilot. On the other side of the
summit there was no upthrust of the
atmosphere and from there close-ups
were taken.

As the plane passed over the sum-
mit, the shrine was plainly visible.
Everything, of course, was covered
with snow and the crater was partly
filled in. The effect of bright sunlight
on the snowy peak gave it an inde-
scribable glow, tinged at times with a
suggestion of pink and other colors.
Cold Hits Camera

Shots were taken from every angle.
Different lens and different films were
used to get varying effect. Material
for sound effect was limited to the
clatter and hum of the plane's three
powerful motors. As the plane ap-
proached the mountain, Heise spoke
into the microphone, giving a brief de-
scription of Fuji-san, and another
short bit was recorded as they were
passing over the summit.

The camera was anchored to a spe-

cially made stand which was fastened
to the floor at the edge of the cabin
door. Varges sat on the floor to oper-
ate it. Special care had to be taken
to protect the camera from the in-
tense cold at the high altitude, for it
was more exposed than was the sound
equipment.

Varges, who has flown throughout
Europe in plane and dirigible, men-
tioned particularly the efficient man-

Barlatiers Celebrate

Mr. and Mrs. Andre Barlatier cele-
brated the twenty-fifth anniversary of
their wedding December 19 at their
home in Hollywood. Mr. Barlatier is
one of the veterans of the camera,
having come to the United States
eighteen years ago. For the Imp com-
pany in France he photographed
"Absinthe," starring King Baggot,
and was brought back to this country
by Director Brenon. The Barlatiers
are old Hollywood residents.

Six Months Old Today

The <!E£0 MUTE

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Six months of trial, tribulations and tests, under the best
and worst conditions, sound stages and locations, fair weather
and rain . . .

And the Baby Sun Arc operated 1 00 per cent efficiency,
1 00 per cent of the time, and never made a SQUAWK.

This is a SILENT arc, as its name, the Mute, implies —
not just quiet, but SILENT. Designed and built on scientific
lines throughout.

Comparative tests have proven the high efficiency of its
light value. Light in weight, compact, low current and carbon
costs, are features to be considered.

And COOL . . . get this feature of the Mute. A Cool
lamp house with a Hot light. Scientific ventilation permits
this.

This lamp is certainly the answer to the sound man's
prayer.

In addition to our general rentals of incandescent and
arc lamps, generator sets and wind machines, cable, etc., we
are now in a position to do general machine work, designing
and building of special machinery, tools, jigs, gear cutting,
screw, machine and turret lathe work. See Frank Merritt
for estimates.

Creco, Incorporated

102 7 N. Seward Street
Hollywood, California

Day Phones:
GL — 4 1 8 I
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Nite Phones:

Mac Gibboney — GL. 5284

Johnny Neflf— N. Holly. 509

Frank Merritt— OX. 65 5 7

Twenty

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Under Tropical Skies-with Physioc

Artist - Philosopher Discusses Celestial and

Mundane Matters with Special Regard

to Old Sol and His Angles

By LEWIS W. PHYSIOC

Technical Editor International Photographer

Lewis W. Physioc

CHARLES DARWIN, in writing
of the island of Borneo, spoke
of that country as the land of
topsy-turvy; and certainly, in reading
his studies in natural history, we find
some remarkable
examples of those
"topsy-turvy" dis-
plays of nature.

It is to the trav-
eler in those far
eastern and tropi-
cal countries that
these natural para-
doxes are more
forcibly presented
than is possible in
written descrip-
tions.

We who live in
the more northern
latitudes are habituated from child-
hood to think of life and natural con-
ditions as experienced only in our own
clime. Our text books are written for
this limited survey of the universe.
Our astronomical charts show only
those constellations in the starry
heavens that lie within our native
horizon. It is not surprising-, then,
that the student, standing on the deck
of a ship plowing its way through the
southern waters, looks in vain for
some of his old favorites of the skies,
and feels far away and lonely among
the strange new clusters he cannot
name. No wonder he enjoys a thrill
when he sees, for the first time, there
beyond the bows of the ship a new
constellation, and hears, for the first
time, its name, "The Southern Cross."

Nor are the purely terrestrial fea-
tures less anomalous to his native sur-
roundings. In this strange land he
traverses vast jungles amid a variety
of trees and shrubs which he is unable
to classify; he gasps at the idea of
standing beneath a stately tree that
nurtures a million dollars worth of the
rare and beautiful orchids; he enjoys
a childish ecstasy as he wanders

among the towering cocoanut palms,
so closely associated with his boyhood
readings.

Dramatic Extremes

Here walked Marco Polo! How well
might one of those beautiful isles have
harbored the Swiss family Robinson,
or Robinson Crusoe?

Likewise, what could make him feel
more the idea of being in a different
world than moving among strange
and varied types of peoples — queer
customs, weird religious ideas; dra-
matic extremes of life and living con-
ditions.

A trip to Mars or one of the other
planets could hardly furnish more
thrills or surprises.

Let us now return to the astronom-
ical argument which furnishes the
purpose of this paper:

In reviewing the few anomalies just
mentioned it is reasonable to suppose
that a photographer might experience
some conditions that would influence
the application of the rules of his art.
A superficial consideration of the sub-
ject might deny the seriousness of any
great diversity of conditions by re-
minding us of the fact that the same
old "Sol" lights all parts of the globe,
and that there are only two variations
of this source of light to be consid-
ered, i. e., quantity and quality; and
that the photographer's fundamental
claim to proficiency is his ability to
judge the extent of these variations.

Such a suggestion would seem to
discount the oftheard admonition to
photographers going into tropical
countries to "watch out for overex-
posures under that fast tropical
light."

This supposition is true and places
the responsibility solely upon the
judgment.

Development of Judgment

Judgment: this is an awesome word.
It is accepted with such suspicion that
the scientist, in all ages, has striven

to furnish foolproof expedients to
avoid expensive failures through er-
rors of judgment.

But there are activities of the mind
that seem independent of absolute sci-
entific control, such as the aesthetic
arts, among which we consider pho-
tography, and the success of which de-
pends upon the development of the
judgment; and the reliability of this
judgment reflects an inherent talent
coupled with a wide experience and
close observance of the variation of
the elements connected with a par-
ticular art.

It is with this thought in mind that
students recount their experiences and
observations with the hope that others
may pick up some little fact that may
help in the solution of a problem.

In our business of photographing
motion pictures great importance is
attached to the choosing of locations,
for in this we are endeavoring to fur-
nish various features: beautiful com-
position, an adequate setting for the
story requirements, and favorable
conditions for photography.

The choice of this location is in-
spired by our lifelong observations of
the course of the sun on our native
hemisphere.

We are accustomed to consider that
a particular location will have the
proper light, for certain effect, at such
and such a time of day at a given sea-
son of the year.

An account of a humorous incident
may illustrate the persistence of a
lifelong acceptance of these natural
guides to our endeavors.
Angle of Sun

While traversing the great Pacific
Ocean, over the "northern course," we
travel thousands of miles without ob-
serving any great difference in the
angle of the sun in its passage across
the sky. After passing the Aleutian
Islands, however, we begin on a de-
cided change of direction to the south
with its consequent influence on the
sun overhead.

On reaching Yokohama we are con-
scious of a great change, and finally
when turning abruptly south and ar-
riving- at Singapore, in the short peri-
od of a few days, we are startled to
find ourselves under a blazing sum-
mer tropical sun.

Even now our consideration of this
experience is more the thought of a

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Twenty-one

rapid seasonal transition, and little
thought is given to the geographical
or astronomical idea.

It was here that we had our first
awakening. It was here that we had
the unaccountable feeling that the sun
rose in the northeast and set in the
northwest. It was here that we went
location hunting, equipped with com-
pass and our inborn influences of life
on the northern hemisphere.

We looked at our compass and ob-
served that the sun was setting in the
west, despite our feeling that it was
northwest, and concluded that our lo-
cation was satisfactory and that we
would have favorable light all day.

The next morning we were there
bright and early, with full equipment.
The sun arose in the east quite prop-
erly, but to our surprise as the day
advanced not once did it reach a point
where it shone upon our cherished lo-
cation, for, instead of circling across
the southern sky and casting its
shadow to the north, it passed over the
north, casting its shadow to the south,
and we had to be content with re-
flected light.

Sun and Photographers

Now our text books have given us
satisfactory explanations for our sea-
sons as due to the direct rays of the
sun at various positions of the earth
in its diurnal revolutions around the
sun, and the inclination of its axis of
rotation, and which likewise explains
the prevailing equatorial tempera-
tures, but no stress is laid, for the
benefit of photographers, upon the
sun's rays at different parts of the
earth.

Let us refer to a simple diagram
for the explanation. In the month of

V^Sii ««*>*.

Group of the Sakai tribe, remnants of cannibalistic people of the Malay penin-
sula. Then use the blowpipe like the Dyaks of Borneo

June, the time of year under con-
sideration, the earth's axis is inclined
toward the sun as shown in Fig. 1,
which throws the equator well below
the direct line of the sun's rays. This
angle is at its maximum on June 21.

Now if we follow the earth around
its orbit to the 21st, or more accurate-
ly 23d of September and also March

Here are shoimi great cumulus clouds that early in the dun acute photo graphic

disturbance, especially if company be working in jungles. Scene in foreground

is of natives of Bulak, Sumatra, beating on drum.

21, we find the axis inclined in a
plane at right angles to the sun,
which brings the equator into the di-
rect rays, and it is at this time in
equatorial regions that we observe the
sun pass almost directly overhead,
casting its shadow only from east to
west, before noon, and west to east in
the afternoon, with a slight inclina-
tion to the north, or south, from June
to September, or September to Decem-
ber, and at places any distance either
north or south of the equator.

A study of these diagrams will show
the direction of the sun's rays at any
part of the globe, at any time of the
year. Or a more interesting experi-
ment might be in placing upon the li-
brary table a lamp of single source of
light, and moving the terrestrial globe
around it, with the ecliptic line on a
level with the light, and by sticking a
pin in any point on the surface of the
globe the direction of the shadow will
be easily determined.

Light Quantity and Quality

Now that we have established the
direction of our light, there are other
considerations of far more importance
to the photographer — i.e., quantity
and quality.

When we look out from beneath the
brim of our topi the tropical light
fairly dazzles the eyes, and we are
reminded of that old familiar warn-
ing "Look out for overexposures."

Nevertheless, when we squint
through our monotone glass at a sub-
ject lighted by this brilliant sun we
are impressed with the fact that the
shadows are very dense, heavy and
lacking illumination, and we are re-
minded of another rule among pho-
tographers which recommends that we
"Expose for the shadows and let the
lights take care of themselves."

This fact is closely associated with

Twcn'y-two

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Gar son Expedition, Universal, moving up a jungle

the simple law of illumination which
shows that the greater the source of
light and the more direct its rays the
more denned and heavy will be its
shadow.

Now these considerations also re-
mind us of another opinion held by
photographers that good photography
is more or less a judicious balance in
exposure, between two great evils,
i. e., extreme highlight and the dense
shadows, and in working in tropical
countries we are confronted with the
problem of determining which of these
areas, shadow or light, make up the
most of our picture, and which of
these features we shall humor or dis-
regard.

Now if we study most pictures we
find that flat ground surfaces are most
highly lighted; the least interesting
feature, and covering less area, and
we can freely sacrifice this to the more
interesting picture elements.

All this should suggest that over-
exposing pictures in tropical countries
is less to be feared than underexpo-
sure, which can result in nothing but
harsh, contrasty pictures.

Middle Tones

So far we have only considered ex-
treme light and cast shadows. Let us
now devote our attention to the middle
tones, which give variety of color and
tone to a picture, furnish the modeling
or chiaroscuro of the picture.

Let us distinguish between heavy
cast shadows and shaded portions.

This introduces a condition of light-
ing in these countries which is very in-
teresting, especially when the sun is
high overhead. We are familiar with
the rule in physics which provides
that the angle of reflection is equal
to the angle of incident.

Now, when the sun is high in the
heavens, it is easy to perceive that the
light is reflected back at a very acute
angle, and consequently less scattered
away from the subiect; and even when
the sun apparently is at the zenith it
inclines enough to the north or south
(according to the season) to throw
the object into soft shade, and with the

aid of reflectors on the side to build up
light to nearly balance the strong top
and back lights, and to avoid flatness,
beautiful exposures, full of detail and
softness, may be obtained.

Even in the shade of buildings and
trees there is plenty of light for quick
cinematograph exposures at the pres-
ent rate of speed.

Varying Atmospheric Conditions

The trickiest light with which the
tropical photographer has to contend
is the slightly overcast sky. Here, in-
deed, may our fears of overexposure
be justified. And our own eyes can be
considered fairly good actinometers.

When we have to squint painfully
under such light, beware! It is
very powerful, highly actinic, and
greatly diffused; and heavy K filters
may be used not only to control ex-
posures but to increase contrast, for
such light is very flat and uninterest-
ing.

We have obtained ample exposures
with K2 filter, stop F.8, shutter at 130

degrees, and at the present speed of 90.
We have considered the brilliancy
of the tropical sun. Let us now study
a condition that few of us ever think
of as l-egards those countries and
which suggests a kindly compensation
of nature for the benefit of the people
who live in those torrid climes.

Our experience over a period of time
from the first of June to the first of
November disclosed the fact that Old
Sol really shines but a small part of
the day. At early morning the sky is
clear and beautiful, but about 11
o'clock great cumulus clouds begin to
gather in the heavens.

These clouds are very dense and
heavy and are very annoying to the
photographer, especially when work-
ing in thick jungle locations, where
all possible light is needed, and where
he is nursing a sunspot, provided by
cutting away heavy overhead growth
and which he hopes to direct by aid of
a battery of reflectors.

Especially on the Malayan Penin-
sula, one could almost set the clock by
the 4 o'clock thunder showers.

There is one feature of this part of
the earth, however, that would delight
the heart of any photographer. Never
has the writer, in any of his travels,
seen such magnificent sky displays,
interesting cloud formations, light
effects, delicate atmospheric condi-
tions for the painter as well as
photographer. Our good old friend
Panchromatic is in his glory there.

Still Photography

It may be of interest to the "still
man" to tell something of the still
photography of those countries. Most
of the photographers are Japanese,
some Chinese, but very few, and none
so clever as the Japanese. We made
the acquaintance of Mr. Nakajima in
Singapore, and after seeing some of
his pictorial work conceived a sort of
reverence for those Nipponese artists,
but were a little surprised at their
methods.

They know little or nothing about
cut films, panchromatic stock, or tank

Natives transporting across Javan stream equipment of Universal company.
Expedition moving up a jungle river.

January, 19.il The INTERNATIONAL PHOTOGRAPHE

Twenty-three

development. Glass plates which are
used exclusively for fdms are easily
affected by the extreme humidity.
They buckle and bulge out, and are
generally hard to handle. Natives
resort to very rapid development, very
stingy fixing and washing, and prefer
very dense negatives.

Indeed, when we see some of their
fine prints, we wonder how so much
beauty can come out of those negatives
that are so dense that we can hardly
see the light through them.

The secret, probably, lies in the fact
that they print almost entirely from
bromide paper cut from rolls. The
photographers are very careful and
painstaking with their prints, and
every one is toned in the hot hypo
alum baths. It seems that there is
little sale for black and white prints,
and it is claimed this treatment makes
them more permanent in that climate
and shows less the stains that easily
occur in the tropics.

In conclusion we may very readily
sum up the facts, that in any part of
the world the exposure is the funda-
mental consideration, and in deter-
mining this there are two elements to
engage the photographer and which
he is expected to judge:

Quantity and

Quality of Light.

Western Electrie for Indies

Electrical Research Products has
issued a Western Electric theatrical
recording license to Balsley and Phil-
lips Inc., Ltd., of Hollywood.

This licensee will make Western
Electric recording equipment and
facilities available to small independ-
ent producers who recognize the need
for the prestige and destributing ad-
vantages of Western Electric record-
ing.

James R. Balsley formerly was
connected with Westinghouse, Fox
Case Corporation and Walt Disney
Cartoons. J. H. Phillips was for a
number of years with Fox Movietone
News in the United States and
abroad.

Typical group of Sahai the governm

civilize — Doroth

French Cinema Bank Plans

to Offer Finance Facilities

A FRENCH Cinema Bank or-
ganized a credit institution for
the motion picture industry, the
Union Cinematographique Francaise,
which has hitherto been functioning
on a modest scale, is now reported to
have changed its name to "Banque de
La Cinematographie Francaise."

This institution is directed by M.
Chalus. It is stated to stand in close
contact with the Banque Lehideux,
a well known private bank, but such
important establishments as the
Credit Lyonnais, Societe Generale and
Comptoir National d' Escompte, that
is to say the first French banks, are
also credited with an interest in the
new organization.

It is believed the cinema bank will
act as central body for studies of film
conditions and for arranging finance
facilities for the film industry as is
done for other important industries.

ent finds it practically impossible to
y Janis in boat

This is considered to be an indication
of the awakening interest of French
financiers in the French motion pic-
ture industry, the most conservative
banking institutions apparently being
involved in the scheme.

The activity of the bank is to ex-
tend to every branch of the film busi-
ness.

Russian Film Development

Reported as Vnsatisfactory

THE following information was
furnished in a recent report of
Trade Commissioner George R.
Canty, Paris: At the first sound film
conference of the Soviet Union it
appeared that film developments in
Soviet Russia are not as satisfactory
as it was expected.

Ssutyrin, a member of the board of
Sojuskino, stated that cinema build-
ing was progressing very slowly in
spite of the fact that the importance
of the film as a factor of artistic and
governmental propaganda was offi-
cially recognized.

Still more so is the sound film. But.
while in the United States the sound
film has already entirely taken the
place of the silent film, in Russia the
changeover will be slow and difficult
owing to technical production difficul-
ties and to the la:k of professionals.

The conference approved of the de-
cision of Sojuskino to produce 50
complete sound programs during the
current season. The Sojuskino hopes
to wire 1,000 theatres for the repro-
duction of sound films during the
same period. However, since the
Electrical Trust of the Soviet Union
is only able to install apparatus in
600 theatres yearly it was decided
to make every conceivable concession
in order to carry out Sojuskino's
sound films plans.

Universal company holding a feast (or awaiting its serving) in the

Javan jungles.

If any International Photographer
have in his files an exceptional picture
shot under a foreign flag; the editor
of this magazine is interested in it.
The phone is HEmpstead 1128.

Twenty-jour

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Meeting

WE CANNOT understand how
one man laboring under the
heavy strain of an Eyemo can
still have the strength to conduct
meetings. Our president, Charles
David, seems to show no wear or
tear, as the December meeting of Lo-
cal 666 was conducted in the usual
way.

"Red" Felbinger and Urban San-
tone seemed to have the floor most of
the night. Can't really blame them
much, as they had spent over $100
for additional furniture needed at the
headquarters of Local 666, and it
seems the general assembly voted
"No" as to the paying of this bill.
After this was settled Brother Fel-
binger was elected chairman for the
coming banquet of Local 666, which is
to be held at the Sherman House Jan-
uarv 29.

Bv HARRY BIRCH

SIX-SIXTY-SIX

S & A

Essanay has long been known to
film fans, but the new S & A means
Spoor & Ahbe, and here is part of
this organization. A heading for this
picture might be "Uncle Sam's Army
at Work." A couple of good-looking
chaps, aren't they? They are none
other than Major Spoor and Private
Ahbe — better known today as "Ma-
jor Spoor" and "Bill Ahbe." Spoor
looks all right, but we wonder what
happened to Bill's mustache.

> I \ s I X M

Believe It or Not

Up to date Brother William Straf-
ford has always claimed to be the
onlv man in the world that could make

Stated, Eugene Cour, Alvin Wyckoff, president 659; Charles David, president,
666; standing, Urban Santone, Ralph Saunders, Harry Birch, "Red" Felbinger,
Major Spoor, all of 666, and Jimmie Williamson, 659. Note how Chicago meets
Hollywood on the level when Cour unlaces his high shoe to match Wyckoff's low
one. The name of the maker of this excellent photograph will be reported in

the February issue

1000 pictures a second. It seems that
some one is always taking the joy out
of life, as several days ago Brother
Strafford broke down and confessed
that he had just reviewed a picture
that had been made in Japan at the
rate of 30,000 pictures a second.

It seemed impossible, and we asked
Brother Strafford if he did not mean
3000 a second, but he still Maintains
that 30,000 was correct. However, it
is too much for us, and we pass it on
to you for something to think about.

SIX-SIXTY-SIX

Telling the World

Harry Birch has made further use
of the delegate's badge presented to
him at the last I. A. T. S. E. conven-
tion held in Los Angeles. Mounted
on the front of his De Brie it will be
impossible for any one being "shot"
not to know they are being photo-
graphed by an I. A. T. S. E. man.

SIX-SIXTY-SIX

Visitors

The past month saw Brothers Lem-
beck and Conrad of Cincinnati in Chi-
cago. Lembeck, as you know, is the
"Sheriff in the Sticks," and although
not being active lately has promised
he will let us in on some of the gossip
that we can get in no other way.

SIXTY-SIX

Wyckoff in Chicago

President Alvin Wyckoff of Local
659 rolled into Chicago with his as-
sistant, Jimmie Williamson, on "Mr.
Santa Fe's Chief." The members of
666 had their shoes shined and piants
pressed and were down at the Dear-
born Station as the official reception
committee.

Wyckoff and Williamson were
greeted by President Charles M. Da-
vid of Local 666 and his body guard,
composed of Gene Cour, Charles Ford,
Major Spoor, Harry Birch, "Red"
Felbinger, Urban Santone and Ralph
Saunders. The march from the sta-
tion was to the Sherman House, where
a little impromptu get-together was
held. Wyckoff posed for Chicago
newspaper men. Time was up, as
Brother Wyckoff had to take "Mr.
New York Central's Century" on to
New York. The march then proceed-
ed to the La Salle Street Station, and
the last word was "Adios."

SIX-SIX IV-

W ell Represented

Our Northern out-of-town brothers
seem to be busy these days. While

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Twenty-five

Uncle Sam's Army at Work — Major

Marvin Spoor and Bill Ahbe,

"as they were"

Ray-Bell of Minneapolis were shoot-
ing a production on the Northern Pa-
cific Line three locals were represent-
ed, viz., Charlie Downs of Local 644,
Kenneth Styles of 52, and Herb Os-
lund and C. E. Bell, both from 666.
With this layout how can Ray-Bell
help but make good pictures?

SIX-SIXTY-SI X

Apologizing First

With apologies to my "Slassiety Re-
porter." I goes to McVickers Theay-
tree and I sees a good show. It is
"Min and Bill." Then comes on that
silver sheet a title, "Chicago-Notre
Dame Beats Army." I sees a crowd,
then something that looks like a foot-
ball game, then one of those close-ups
in the spectators' stand. Young lady
says "Why did he drop the ball,
delar?" and on her right is a pile coat
with a body wrapped inside that an-
swered, "And I saved my week's sal-
ary to buy your ticket!" By this time
I realizes the body which the pile
coat contained is none other than my
"Sassiety Reporter." It sure is tough
when you see these boids every day
and then you spend your hard-earned
jack at a theaytree to be entertained,
and you find that you have still to
look at these boids on the screen.

Whatahell!

SIX-SIXTY-SIX

In Focus — In Spots

By Birch's Sassiety Reporter

NOW that them hombres out thar
in California found out why
Notre Dame wuz winning all
them football games back here in our
stamping grounds I guess I might as
well settle down and get out this
month's dirt, which youse guys won't
read until next year.

First of all I'll start the new year
out right by giving you a hot exclu-
sive story. We're going to have an-
other one of our famous balls. Re-
member the last one at the Palmer
House? Well, the next one is going to
be thrown over at Mrs. Sherman's
Boarding House in the best room we
can get over there.

All I got to say is set January 29
aside, and ankle the ball and chain,
the sweetie, or the battleaxe, as the
case may be, over to the Bal Tabarin
and help make merry for the second
annual time.

SIX-SIXTY-SIX

Red Doff's Lid

I wuz along with President David
when he picked the Bal Tabarin and

what a joint it is! "It's the swellest
place your humble scribe ever went
into." You know how I always keep
my hat glued to my head. Well, when
I walked into this room I uncon-
sciously took it off because I never
been in such a swell place before, and
I can't wait until the 29th to strut
into the joint Jail decked out in an-
other dress suit, like the one I made
my glad rags debut in last year.

Well, the first thing I want to tip
you brothers off to is you better call
up the bozo what rents out these dress
suits, right quick, because, when the
information busts that the ball comes
off on the 29th there is going to be
one big rush for the soup and fish
costumes and you might not get the
right size.

I already got my order in because
last time it wuz two sizes too big and
then also I Wanted one that didn't
have eggs on the lapel of the coat.

SIX-SIXTY-SIX

Socking Old Man Gloom

Now, getting back to the Bal
Tabarin it is the place to treat your
fair sex friend or wife to. The place
is an evening's entertainment in itself.
Also the brothers won't even need
any giggle water to make themselves
feel hilarious because there is an
ever changing parade of lighting ef-
fects on the walls of the Bal Tabarin,
which ought to make any fellow feel
like he was hittin' things up and see-
ing things.

I understand this affair is going to
surpass last year's by miles and that
is admitting a lot, but I guess if
Charlie David promises that — it's oke.
So in case I don't see youse before
that night I'll be there with bells on

LA. T. S. E. delegate badge adorning
front of Harry Birch's camera

because it's going to be one grand
night. Remember — the Bal Tabarin,
January 29.

Line up your friends and show
them how to start out the new year
right and bring them up to help us
participate in burying Old Man
Gloom.

SIX-SIXTY-SIX

Ten Below in Open Crate

I see where Charlie Ford has gone
out on a extreme economy wave. Any-
how, he must be cutting down the
overhead considerably on the lunch
checks because I saw him arrive

Shooting a Ray-Bell Production — Platform at left, Charlie Downs, Local 6AA;

on ground, left, Kenneth Styles, 52; holding up camera,

Herb Oslund and C. E, Bell, 666

Twenty-six

The INTERNATIONAL PHOTOGRAPHER

January, 19-11

down at the Ohio Mine disaster and
the first thing he did was bust over
to the hut the Red Cross had put up
for the rescue crews and get himself
a free lunch of coffee and doughnuts.
No kiddin', though, Charlie sure
looks like he needed it. He flew down
from Chicago in an open crate and
the climate was 10 below up at 8,000
feet, and Charlie looked frozen even
with all the winter flying regalia he
had on.

SIX-SIXTY-SIX

Sheriff Gumshoes

Brother Ralph Lembeck has been
snooping around town on a mysteri-
ous errand, and after shadowing the
sheriff from the sticks I discover he
is here trying to line up some choice
ringside seats for the coming pow-
wow at the Bal Tabarin on January
29. Slick guy, this fellow Lembeck.
Guess he knows what a big demand
them ducats is going to have.

SIXTY-SIX

Wall Waits for Fred

The boys still get their picture.
Fred Giese is I he latest example of
how to get what you go after. Re-
cently a big fire bust and Fred drew
the assignment only to find on his
arrival at the scene of the conflagra-
tion that the firemen were about to

pull down a big four story wall. Fred
got busier than the proverbial one
armed paper hanger on setting up his
outfit, yelling to the firemen to "Hold
that wall up a few minutes longer!"
Sounds like a big order. Well, any-
how, we saw a picture in Fred's
newsreel of a four-foot wall coming-
down.

SIX-SIX I Y-S1X

But What Says Mother?

Brother Urban Santone has bust all
the buttons off his vest with the ar-
rival of number two candidate for
Rockne's football team about twenty
years from now. He calls this one
Victor.

Due to the present business depres-
sion Brother Santone cut out his Ital-
ian custom of handing out the coronas
to celebrate the event. Both father
and child are doing nicely at this
writing.

SIX-SIXTY-SIX

How Does an Editor Know?

Well, I submit with this column my
choice for "The Still of the Month."
This one is entitled "The Daredevil,"
and is posed by our versatile brother
Bob Duggan, the lightning impre-
sario.

Note the perfect equilibrium of
nerveless steeplejack as he flirts with

Not Fair

Chicago, Dec. 15. — Something-
should be done as to the professional
motion picture photographer breaking
into the 16 mm. field. Here is proof
that one of Local 666's star men, who
happens to be Secretary Norman Al-
ley, is working with a 16 mm. camera.

We wonder from the expression if
Alley really closed his eyes, being
ashamed even to look at this little
16 mm. camera, or was it like the

Norman Alley shooting 16 mm.
camera

story of the ostrich? It seems that
Brother Alley is practicing up on
these backbreaking jobs since he has
watched President Charles David's
heavv duties. H. B.

V l-4k

'■ . ■■

Picture of that daredevil Mr. Robert Duggan, lightning impresario of some-
thin', rehearsing his slack wire act on the coping of a one-story building, the
while an unidentified photographer aims to take a picture of his waistband and
a second u. p. shoots the works so this summer Saturday afternoon idyl in
Chicago may not be lost to posterity

death tottering on the brink of eter-
nity one story above the ground. This
is a rare print from the private col-
lection of the said Mr. Duggan, and
was smuggled away from the ever
watchful eye of our modest hero.

It is the first public showing of the
pose and casts our hero in a new
role, as it is the first time we have
seen him perform on the edge of a
roof.

Western Electric Installs in
2495 Foreign Film Houses

Western Electric world wide in-
stallations, according to the latest re-
port, total 7222, of which 4727 are in
the domestic field and 2495 abroad.
Sixteen cities have 20 or more instal-
lations. The list is headed by New
York City with 356. Olher cities are
as follows: Chicago, 166; Los An-
geles, 86; Philadelphia, 82; Detroit,
76; Cleveland, 51; St. Louis. 46; San
Francisco, 41; Baltimore, 40; Kansas
City, 32; Cincinnati, 32; Milwaukee,
30; Seattle, 29; New Orleans, 26;
Buffalo, 26, and Pittsburgh. 22.

There are 23 cities that have be-
tween 11 and 20 installations, totaling
341 Western Electric wired houses.

In 75 cities there are from 5 to 10
installations, while 48 cities have 4
each and include 192 theatres, while
there are 113 cities with 3 installa-
tions. These total 339 theatres.

This total of 2491 is about half of
all the Western Electric installations
in the United States.

Revietv Rooms Install

There are 289 review rooms through-
out the world equipped with Western
Electric.

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Twenty-seven

Thirty-three Year Old Arctic Films
Product of Eastman Kodak Works

DUE to the perfection already at-
tained by the Eastman Kodak
Company in the making- of sen-
sitive emulsions thirty-four years ago
the entire world is able to-day to see
views of the disastrous Andree polar
balloon expedition in 1897. The Roch-
ester Sunday American of November
23 last describes in detail the inter-
esting steps of development in film
manufacture leading up to the prod-
uct supplied when the order for the
Andree expedition was received.

The material in question, iroduced
about eight years after the Eastman
company had begun to market trans-
parent film, was manufactured at a
time when experiments to yield large
quantities of film of uniform quality
were at their height.

The year 1896 brought this com-
pany the record of 100,000 kodaks
made, with film and photographic pa-
per being manufactured at the rate
of between three and four hundred
miles monthly. Film base, at that
time, still was produced by pouring
the fluid nitrocellulose "dope" on to
long glass tables to dry. The contin-
uous drum system for manufacturing
the emulsion support was not made
practicable until several years later.

The arctic temperatures at which
the film remained while it waited
thirty-three years for discovery and
development are understood to be
largely responsible for the preserva-
tion of the pictures, since it is known
that cold retards chemical action with-
in film provided the humidity is low.
Films in Exploration

Regarding the methods used to de-
velop the film found in the Andree
camp no information has been re-
ceived from Sweden by the Kodak
Company. It is believed, however, no
unusual procedure would be necessary
except to work at lowered tempera-
tures if the gelatin tended to be soft
and to take such precautions as ex-
perimenting with the developing of a
single negative before any risks were
taken with the whole group of nega-

tives. It is probable Dr. Hertzberg
subjected the negatives to a glycerine
balh since, in 1897, there was no gel-
atin coating on the back of film — the
side opposite from emulsion — to pre-
vent curling.

Photographic film, also made by
Eastman, gave the world a pos-
thumous photographic record of the
expedition headed by Scott, the Brit-
ish officer who reached the South Pole
in 1913 only to perish with his com-
panions in a blizzard that obstructed
his return.

A kodak brought back records of
Peary expeditions both before and
after the Andree flight.

Admiral Byrd took larg-e quantities
of Eastman still films to Antarctica,
and photography has been an impor-
tant instrument in the equipment of
all other recent exploratory expedi-
tions. Byrd's provision for the care
of his film included transportation of
the material under refrigerated con-
ditions to combat the heat encoun-
tered in crossing the equator. Film
produced at Kodak Park in Roches-
ter that needs to cross the equator to
reach its users ordinarily is packed in
sealed metal containers.

The experience of the Andree film
is cited by Eastman officials as typi-
cal of the vicissitudes through which
film may have to pass and as a reason
for the extreme care with which man-
ufacturing operations and extensive
testing at Kodak Park must be car-
ried on.

'Doc'''' Travis First to Use
Camera from Air in Regular
Motion Picture Production

LITTLE thought was given by
Norton ("Doc") Travis to the
historical importance of his ac-
tion when in 1908 at Hammondsport,
N. Y., he climbed aboard a Curtiss
machine to photograph from the air
the pioneer sequences for a regular
motion picture production. The sub-

Greetings to Dorothy

From a friend in Local 644 comes
this word:

Harold McCracken, noted
explorer and writer, is the
happy father of another baby
girl — Dorothy by name. For-
tunately the baby can't be a
cameraman.

Now just a moment. In these
days of rapid change isn't that
concluding assertion, looking ahead
a quarter of a century, rather a
strong one?

Then again Dorothy may be a
cameraman's boss — even on occa-
sion notify him in tones formal and
businesslike the Sunday dinner will
be served at 4:30 o'clock, golf or
no golf, my dear sir!

ject was "The Line-Up at Police
Headquarters" and the producer was
Gus Hill. Featured in the picture was
former New York Police Commission-
er Dougherty.

Below at the left will be seen a
reproduction of the very plane and
the very "Doc" as he was nearly
twenty-three years ago. On the right,
standing- back to, is Frank Beale, the
director,, then hailing from New York,
but now a long time resident of Hol-
lywood. To his left is De Witt C.
Wheeler, Hammondsport, by the way,
was the original Curtiss home plant

The years that followed have been
busy ones for "Doc" Travis. He made
a tour of the world doing scientific
photography for the Rockefeller
Foundation.. He was a captain in the
Signal Corps, and did special camera
work for the government during the
World War.

Also the pioneer is a specialist in
trick work, having perfected many
rotable photographic effects in motion
picture making.

Chicago Engineers Elect

The Chicago section of the Society
of Motion Picture Engineers has
elected J. Elliott Jenkins chairman,
R. Fawn Mitchell secretary and Os-
car B. Depue and Robert P. Burns as
governors.

Members of this section now to-
tal 77.

Twenty-eight

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Wherein We Set Forth Our Regrets
and Make Our Amends to Lee Garmes

IN PRINTING in its December is-
sue the portraits of those camera-
men who were affiliated with sub-
jects related to Academy awards in
one department of effort or another
International Photographer unwit-
tingly miscredited the photographer

Lee Garmes

of "Disraeli." It was for his inter-
pretation of the title part in this sub-
ject that George Arliss received the
award as the best actor of the year.
The mistake came in crediting the
photographer of the excellent "Dis-
raeli" stills instead of the man re-
sponsible for the motion picture pho-
tography.

Lee Garmes is the cameraman to
whom we convey our apologies. We
take this action in spite of the fact
that up to this writing no word of
complaint or otherwise has been re-
ceived from the person who had most
reason to feel aggrieved.

Possibly the photographer of the
more recent "Whoopee" and "Morocv
co" feels he has been the recipient of
sufficient honors these latter days to
let the incident pass without com-
ment.

By the way, this may be a good
time to reprint the unusual compli-
ment bestowed by the Christian Sci-
ence Monitor upon the photographer
of "Morocco." The comment is by
E. C. S. of the Monitor's New York
bureau.

The recognition of the important
part played by the man behind the
camera is so unusual and so delicate
and complimentary in its phrasing

we are sure it will interest camera-
men everywhere. It runs:

"Miss Dietrich is handsome of face
in a thoughtful way. Her profile
takes on beauty of modeling in light
and shade under the thoughtful min-
istrations of the cameraman, Lee
Garmes."

Staaken to Reopen

The Staaken film studios in Ger-
many, after a long period of inactiv-
ity, have been inaugurated for sound-
film production. A Tobis-Klangfilm
set, with three microDhones and two
cameras, has been installed between
two halls so that shooting can be ef-
fected in either one by a simple
changeover of wires. The studios
have been entirely lined with sound-
insulating material.

The first picture produced for
Klangfilm, under the direction of
Gerhard Lamprecht, will be "Two
Kinds of Morals."

Wyckoff in New York

Alvin Wyckoff, president of Local
659, is in New York for a brief stay
in the interest of Multicolor. He is
accompanied by James Williamson,
his assistant.

While away Mr. Wyckoff will pho-
tograph the first complete industrial
picture that has been made in Multi-
color. Also while in New York he
will photograph sequences for Univer-
sal^ novelty series, "Strange As It
May Seem," all of which subjects are
in Multicolor.

To the Photograhic Craft and the

Motion Picture industry

in General

MAX FACTOR

wishes
A Prosperous

Telephone HOlly 6191

Max Factor's

Panchromatic

and

Technicolor

Make-up

for the

Screen

Max Factor Make-Up Studios

HIGHLAND AVENUE AT HOLLYWOOD BOULEVARD, HOLLYWOOD. CALIF.
CHICAGO OFFICE— 444 WEST GRAND AVE.
Other Foreign Branches
London, England: 10 D'Arblay St.
Sydney, Australia: No. 4-C Her Majesty's Arcade. Buenos Aires, Argentina: 500 Sarmiento.

Manila, Philippine Islands: No. 39 Esolta St. Lima, Peru: Edificia Mineria.

Mexico City, Mexico: Paseo de la Reforma 36%. Honolulu, T. H. : 720 South St.

Johannesburg. South Africa: Corner Joubert and Kerk St.

Cable Address "FACTO'

Max Factor's

Theatrical

Make-up

for the

Stage

fo*"2*k

Gream oth Stills

tOWo*.

Edward H. Kemp of San Francisco climbs into the wash and up over the rocks on Wall Creek in Bright

Angel Trail, Grand Canyon, Arizona, to get a perfectly unhoftile shot at these horsemen, who like the

world and his wife take a good rest while the photographer works.

Thirty

The INTERNATIONAL PHOTOGRAPHER

January, 1931

With Portable Reproducer Operator
May Cut In on Audible Film Show

A SPECIAL microphone arrange-
ment which will enable an op-
erator to interject remarks rel-
ative to any picture which is bsing
shown and to have his voice come
from the loud speaker in entirely sat-
isfactory volume is hailed as a revolu-
tionary feature of the new Bell &
Howell portable 16 mm. talker repro-
ducer, the Filmophone.

This combination is especially valu-
able for business, educational, church
and small theatre use. Also it will be
warmly welcomed in the home, in the
event of impromptu entertainments,
for instance.

The Filmophone itself is portable in
the true sense of that word. It comes
in two cases, of approximately equal
size, shape and weight, totaling 88
pounds. It employs a Filmo projector
for showing pictures, using 16 mm.
amateur size film. Sound is obtained
by a synchronized phonograph type of
disc, the same as used in theatres.

The Filmophone, it is stated by its
makers, presents the ultimate in tonal
qualities in portable sound repro-
ducers. It yields volume sufficient for
audiences of several thousand. With
it perfect synchronization is achieved.
Operator May Plug In

It has a worm drive of unique
design, thus eliminating the double
motor feature and avoiding any possi-
bility of slack in the mechanical coup-
ling. The Filmophone is a product of
the Bell & Howell engineering labora-
tories and carries with it the Bell &
Howell manufacturing guarantee.

The microphone feature permits the
operator to plug in conveniently at
any time, automatically cut out the
musical or verbal record accompani-
ment and make any comments desired
in order to emphasize points of a film
which may need stressing to meet a
specific situation. When the switch on
the microphone is released the record
sound accompaniment is resumed.

A notable advantage of this micro-
phone arrangement lies in the fact it
will obviously make it possible to use
many silent pictures to good advan-
tage. A salesman, for instance, can
talk into the microphone while show-
ing a silent film and explain his com-
pany's product and have his voice ac-
company (he picture in a volume
equal to that of the Filmophone when
it is presenting a sound picture, so
that a large audience can hear him
easily. The Filmophone will be mar-
keted with the microphone attach-
ment or it may be secured without the
microphone feature, which can then
be added later.

One of the two cases which house
the Filmophone contains turntable
with flexible shaft connection to the
Filmo projector, magnetic pickup,
amplifier with power pack, tubes, nee-
dles, needle cup, pocket for three 16-
inch records, and necessary accesso-
ries. The second oase houses the loud
speaker permanently mounted in the
case itself, together with the projec-
tor, three extra reels of film, empty
reel, connecting cords, cables and ac-
cessories.

Filmophone — Showing turntable unit
coupled to Filmo projector in operat-
ing position

Over 2000 Follow on Screen
16 mm. Football Game Film

A decisive demonstration of tre-
mendous reserve power was given by
a regular factory model Filmo projec-
tor when it showed brilliant twelve-
foot-wide motion pictures of the
Northwestern University football
team in action against competing
teams to an audience of over 2000 at
the second annual University home-
coming rally held in the 122d Field
Artillery Armory at Chicago recently.

The projector, back in the hall, al-
though perched up on two tables, one
on top of the other, was all but lost
in the immense crowd. Nevertheless,
although small in size, it did a big
job.

Charles T. Chapman, veteran pho-
tographer, who took and projected
the 16 mm. football films, writes as
follows relative to the rally: "The
football pictures were taken with a
70-D Filmo camera and were shown
with my Model C Filmo projector,
using a 2 ¥2 -inch extra-lite lens.

"I feel that since both the size of
the picture and the size of the audi-
ence were so much greater than is or-
dinarily recommended for good show-
ing, there should be some record of it.
I may add that the clarity and bril-
liance of the pictures caused consid-
erable comment after the showing."

Salesman by means of special microphone arrangement cuts in, in the midst
of a Bell & Howell Filmophone talkie sales presentation, to give w special-
oral explanation.

Says Studios W ill Install

16 MM. Reduction Printers

INSIDE of another year there will
not be a major studio on the West
Coast but will have in its labora-
tory equipment a 16 mm. reduction
printer. This is the statement of a
large dealer in cine equipment in Los
Angeles.

Explaining his prediction, he said
there is not a. studio in the west but
has in its personnel what he described
as a whole nest of 16 mm. fans. This
extends from the highest executives
and principal nlayers down through
the various employees. The dealer
told of one well known cameraman
who the day before had given an order
for 16 mm. equipment for which he
laid down a check for $536.

The cine dealer referred to a prom-
inent producer-star who that day was
accepting delivery of a complete 16
mm. equipment for his home in Bev-
erly Hills. "The interest among pro-
fessionals in 16 mm. equipment is
almost unbelievable," the dealer de-
clared.

January, 19.11

The INTERNATIONAL PHOTOGRAPHER

Thirty-one

With Films Men 9s Club Finds Way
to Boost Treasury at Church Fair

TWO instances have just been re-
ported from Chicago as to how
motion picture projectors can be
used to raise money for church pur-
poses. It will be seen that instead of
being an expense a projector easily
becomes a source of income.

At the Lutheran Memorial Church,
2500 Wilson Avenue, on the occasion
of the annual fall bazaar the men's
club elected to conduct a motion pic-
ture booth as its part of the activities.
With a Filmo projector such films as
"Felix the Cat" animated cartoons,
two UFA educational subjects, "Hunt-
ing and Fishing in Siberia" and
"Taming the Taiga"; Boy Scout pic-
tures and miscellaneous comedies
were presented. Each reel took about
fifteen minutes to show, and an ad-
mission charge of five cents a reel
was levied. So intense wias the inter-
est in the pictures that there was al-
ways a line at the entrance of the
booth waiting for the beginning of the
next reel.

All ihe Show Nol on Screen

The accompanying photograph shows
August Schmidt, head councilman of
the church, operating the projector.

Also it will be noted the audience
was miade up of people of all ages.

About $40 above expenses were
cleared from the booth operation, and
the pastor, the Rev. Edwin Moll, ex-
pressed himself as delighted with the
idea of discovering a source of in-
come which was so rich in high-grade
entertainment qualities.

The other instance of revenue rais-
ing in Chicago was at the Granville
Methodist Church. Here Mr. and Mrs.
John Skinner, Chicago school teach-
ers, presented 16 mm. motion pictures
which they had made during a trip to
Europe last summer.

They had shown these pictures to
some of their friends who had felt
that the films should be viewed by a
larger audience. It was arranged the
pictures should be shown in the
church with an accompanying travel
talk by Mrs. Skinner. An admission
charge was made with the under-
standing that the proceeds should go
to the church. The sum of $85 was
realized.

Fraternity Chapters to See
National Congress Pictures

THE outstanding events of the
tenth Grand Chapter Congress
of the international commerce
fraternity Delta Sigma Pi, held at
Detroit September 10 to 14, are being
presented in motion pictures to chap-
ters of the fraternity throughout the
country.

The film was made with a Filmo
70-D by J. Robert Johnson, Chicago,
a member of the fraternity, and is re-
ported to be a masterpiece of ama-
teur cinematography. Not only are
the official happenings of the conven-

tion vividly depicted, but a delightful
romance is introduced which adds
splendidly to the interest, as do also
close-ups of the members in attend-
ance at the Congress.

The premier official showing of the
film was given in Chicago recently,
two Filmo projectors being used al-
ternately to obviate any waits be-
tween reels.

Malaysian and Situth Sea

Pirtares to Be Ready Soon

PHILIP M. CHANCELLOR of
the Chancellor-Stewart expedition,
which was conducted under the
auspices of the Field Museum of Chi-
cago, is due in Hollywood early in
January. The expedition went into
Malaysia to Seloe-Pedarig and the
Island of Flores early in the spring
of 1929 and returned a year later.

While in the East the expedition
had the full co-operation of the resi-
dent Dutch officials. Thus they were
able to take in Cinematographic equip-
ment. As a result they brought out
for the first time actual motion pic-
tures of the commodus varanidae, a
lizard generally considered prehis-
toric. Not only did the expedition
return with many photographs of the
reptile but with living specimens of
the varanidae. The pariy worked
under very rough conditions.

These pictures are going to be cut,
titled and edited and will be issued
as silent pictures. Also they are
going to be recorded with scientific-
lectures on sound on disc. The sub-

jects will be ready for showing in
February.

Since his return last spring from
Malaysia Chancellor has conducted an
independent expedition of his own to
the South Seas, where he secured
with sound equipment many records
of the native dances. These with the
history of the legends the dances are
supposed to interpret will be prepared
for the educational market and pos-
sibly for the theatrical. They will
be cut into from 15 to 20 one-reel
subjects in three forms — as silent,
sound on disc and sound on film.

The laboratory work and recording
will be done by Hollywood Film En-
terprises. F. K. Rockett of the
Hollywood company is acting as the
personal representative of Chancellor.

Fairbanks While Abroad

W ill Make Sound Pirtares

WHEN Douglas Fairbanks sails
for his trip around the world
Ipnuaiy 3 he will take with him
a portable sound equipment. The re-
cording apparatus, which was espe-
cially built to his order by the Tanar
Corporation, will be complete in two
cases, each 10x10x20 inches and
weighing in all but 120 pounds.

The batteries will total in weight
20 pounds, three of which are the
144 volt airplane variety each weigh-
ing 5 pounds, and the other three
weighing but 5 pounds all together.

The contract was given to Tanar
following tests of the standard size
equipment at the United Artists stu-
dio and was built under the super-
vision of Victor Flemming, represent-
ing the buyer.

With the sound apparatus will go
a complete Bell & Howell camera
equipment. Fairbanks is sailing on
the Belgenland on January 3, stop-
ping off for a visit in Siam.

Rare shot of group motion picture shoiv in Lutheran Memorial Church, Chi-
cago, where ivith a Filmo the men's club clears $40 for the church's fair

Thirty-six

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Hozv Old World Artist Home Grew
On Bleak Arroyo Seco Wasteland

By EDWIN M. WITT

NOT many years ago, on a slop-
ing- hillside near the Arroyo
Seco, situated between Los An-
geles and Pasadena, sat Clyde Browne,
In his ears the hum of insect life
and the soft whisper of the trade wind
blowing through the broad expanse
of wild oats, cacti and sage spread
before him.

Browne saw not the weeds and the
waste. Instead, materializing in the
dreamy haze, there grew before his
eyes high-domed towers, cloistered
halls, flagged court, broad tiled
roofs, hand forged grills, and in the
towers appeared old bells with mellow
chimes.

He visualized a congenial workshop
for artists, writers and musicians, to-
gether with those of allied crafts

seeking- their ideal in studio require-
ments, one perfectly suited to them
and their work.

Builder, artisan and poet, with skill
and patient industry Browne wrought
and built the Abbey San Encino. The
countryside was culled for stones of
every hue — bricks from the mission's
crumbling walls, forts and hacienda.
Old doors and timber also were
gleaned. He molded the clay upon the
place where he would build, dried the
bricks, built an immense pyre, burned
them to a ruddy hardness, and the
walls and arches were formed.

Old World Romance

From the Old World came ship's
lanterns, cathedral glass, old cathe-
dral organ pipes, marble altar rails

The Abbey San Encino, built as a workshop for artists by Clyde Browne

from Italy, iron from a Spanish pal-
ace, Roman nails, a sad-voiced bell
from Cathay, crosses from the Mount
of Olives, burial jugs from the Incas.
In the patio and on the terraces he
created the atmosphere of Old
World romance. One seems to see
dark maidens strolling, casting shy
glances or sitting upon the crum-
bling walls whispering secrets and
gossip of gay caballeros.

Within the walls of the high-arched
chapel is the organ flanked by the
stained glass windows, the glass from
a Belgian cathedral, shell-ruined in
the World War, the soft colored light
filtering through, a setting for a St.
Cecelia. Tall hand-carved candlesticks
on either side complete the picture.

From the organ now we may turn
to the nave, and down the center be-
tween the high-backed, hand-carved
pews, see an immense fireplace with
carved ledges, and to the right a
study filled with old arms and old
pictures, relics of the World War,
old books and furniture. Then we
may notice a stairway winding- down-
ward to dungeons, with steel-doored
cells, all reeking of mold and age.

Towers, chapel, gardens, walls,
dungeons, old arms, weird gods of
forgotten people, tinkling fountain,
soft shadows on old stone and colored
tile, soft mellow notes from chapel
bell — -where is the care-worn world of
today?

Visiting the abbey, seeing and feel-
ing its atmosphere, gives one the rar-
est of all sensations today, a beau-
tiful, tangible, romantic loveliness
that we dream from seeing old pic-
tures and reading old books.

Mitchell and Bell & Howell Cameras

Sales and Rentals

For Rent Three Mitchell sound cameras complete, including two 1,000-ft. magazines

with each camera at regular camera rental.
For Sale Bell 6c Howell cameras complete and in first class condition. Prices on

application.

J. R. LOCKWOOD

GRanite 3177
Phone

1108 North Lillian Way
Hollywood, California

Cable Address
"Lockcamera" Hollywood

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Thirty-seven

After 200 Years of Opera
House Is Wired for Sound

AFTER two hundred years of
uninterrupted use for its de-
signed purpose the opera house of
Malta will be transformed into a
sound film theatre. Uncle Sam so
reports to the Motion Picture Bu-
reau in Washington through one
of his vigilant correspondents.

The message would seem to be
of larger import than the cryptic-
one of less than two score words
with which it was sent out to the
public.

Here is a structure that was ded-
icated to the highest form of en-
tertainment a year before the
Father of His Country saw the
light of day, has so continued as a
home of opera through the more
important colonial period of this
land, through the Revolution and
all the wars this country has
known.

For 67 years it was operated un-
der the rule of the Order of St.
John of Jerusalem, for 2 under
Napoleon and for 131 under Sir
John Bull.

From now on its old walls will
ring with the voices of singers
whose notes may have been ut-
tered across the Atlantic — in days
to come even with voices of sing-
ers whose vocal chords long have
been silent.

And so passes the old order.

Belgenland Installs Sound

for Its 135-Day World Trip

When the Red Star Liner Belgen-
land sailed out of New York Decem-
ber 15 for a 135-day cruise around
the world it carried with it a Western
Electric dual portable sound system
specially designed for service on
steamships. Talking pictures will be
shown over this equipment to passen-
gers on board throughout the entire
cruise.

Installation of the equipment was
rushed to completion by Erpi engi-
neers during the Belgenland's short
stay in New York.

Picture Photographed by War Pigeon

Hominy pigeon with automatic cam-
era attached for use in -war. These
cameras are automatic and will take
only one shot, a sample of which is
shown below. An Englishman writ-
ing of the use of animals and birds
in war said recently: We do not
need reminders of such aid to make
us fond of our birds and pets,
and the tragic events in Belgium,
where ruthless cruelty made the
people of ivhole towns homeless,
have brought out evidence of this
abiding affection. An Englishman
in Lou rain triumphantly saved u
canary from the perils of a blaz-
ing house, and another brought away
his favorite dog and her puppies
and carried them across Belgium
with dauntless devotion. Another
pet has deserved equally as well as
the canaries of its owners, and that
is the ho m i n g
pigeon, of which
the clever Belgians
ha,ve made excel-
lent /'.ST.

Th esc pigeon
C a m e r a s are so
light and so per-
fectly balanced that
they do not seera to
hamper the bird's
flight in the least
and the pigeons ap-
pear to be rather
proud to wear them.

The snap shot
herewith, consider-
ing murky weather
cud the flight of
the pi g e o n, is
pretty good. The
b r i d g e is plain
enough as is also
the steamer pass-
ing beneath.

Among the passengers sailing were
Professor Albert Einstein and his
wife, bound for California. Officials
of the line were wondering whether
the talkies on board would lure the
noted scientist.

As the famous German requires the
presence of an interpreter when
English is spoken it is probable his
fondness for talking pictures, if any,
will not extend to those reproducing
that language.

King

WHETHER
WHETHER

Charney says . . .

IT BE CARBON OR INCANDESCENT LIGHTING
IT BE TALKIES OR SILENT

Insist ^ 4

For definite results

AGFA RAW FILM CORPORATION

Thirty-eight

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Committee Reports

(Continued from Page 35)

made possible at distances of the
order of 20-40 feet. One such device
utilizes a metal horn with the micro-
phone placed at the throat. In an-
other form, applied commercially by
RKO Studios, sound is picked up by
an ellipsoidal or parabolic reflector
and focused on a microphone, with the
sensitive face of the transmitter
turned away from the action.

The advantages of this type of con-
centrator are relatively high gain,
ability to record against wind or noise
interference, and suitable acoustic-
characteristics for high quality pickup
at a distance.

The importance of these factors in
lowering moving picture production
costs is described.

PHOTOFLASH LAMP

By Ralph E. Farnham,
General Electric

The paper on the photoflash lamp
first discusses in a tabular form the
various phases of photography for
which a flash source is advantageous.
The particular needs of each type of
photography establishes the require-
ments of a satisfactory flash light and
associated equipment. The new photo-
flash lamp is then described and its
operating characteristics given.

The design features of two suitable
types of reflector equipments also are
shown. Following this, methods of
employing the photoflash lamp are de-
scribed. The application of this lamp
to motion picture photography is men-
tioned.

COLOR PHOTOGRAPHY

By Palmer Miller and P. D. Brewster

Our paper first considers the nec-
essary requirements in the camera —
the comparison of advantages of using
a single negative to record the three-
color separations and the use of three
separate negatives — followed by a
study of the advantages of using sep-
arate films sensitized for different col-
ors, to aid in obtaining sharp separa-
tions in comparison to the use of pan-
chromatic film and filters.

The question of the speed and the
range of focal lengths of the lenses

required in the cameras for practical
use in the studios is then considered.

Different possibilities for the pro-
duction of the positive prints are then
considered with special attention to
dye mordaunting processes. Require-
ments as to definition of the image,
range of color and clarity of color are
discussed.

The paper concludes with a number
of slides, showing curves of filters,
curves or desired color separations
and transmissions of H & D strips.
The effect of superposing different
color strips is demonstrated.

hk;h intensity carbons

By D. B. Joy and A. C. Downes,
National Carbon

The effect of the variation in the
relative positions of the positive and
negative carbons in a commercial high
intensity lamp burning 13.6 millime-
ter carbons is investigated. The fu-
tility of specifying an arc voltage
without fixing the position of the pos-
itive carbon with respect to the nega-
tive carbon is illustrated.

It is also demonstrated that a rela-
tively small movement in the position
of the positive carbon crater along
its axis has a greater effect on the
steadiness and quantity of useful light
from the high intensity arc than is
ordinarily supposed.

The positions of the carbons at
which maximum light and the maxi-
mum steadiness of light are obtained
are defined, and it is shown that for
the same current the position of max-
imum light is not necessarily the po-
sition of maximum steadiness.

PHOTOGRAPHY IN COLORS

By Glenn E. Matthews, Eastman

Almost from the first years in
which motion pictures were used com-
mercially, about 1895 to 1900, experi-
menters have been working on meth-
ods of producing them in natural col-
ors. The only practical processes en-
joying any extensive commercial use
in the theatres, however, are subtrac-
tive processes in which the color is
incorporated in the film.

One additive process has had exten-
sive application for amateur motion
pictures for over two years. Within
the past year a large number of color

Aerial Photography

WM. H. TUERS

Special Motor Camera

Aerial Stunt Shots
Process Backgrounds

Releases — ''The Flying Fleet,"

"Lilac Time," "Border Patrol

Series," "HelVs Angels," "Young

Eagles."

GR. 9097 HE. 1128

motion pictures have been released
with sound accompaniment so that the
ultimate is being approached in mo-
tion picture photography, namely pic-
tures in color and sound.

No practical methods of obtaining
steroscopy or relief have as yet been
found. The subtractive processes
which have been used, however, are
only two-color methods and therefore
a true spectral record is not realized.

Although a simple process of color
photography yielding a print which
faithfully reproduces the colors of na-
ture is greatly needed, most of the
research at the present time is being
directed to the perfection of color mo-
tion pictures.

Another equally important field is
the use of color photography in pho-
to mechanical printing processes as
colored illustrations have come into
very extensive use during the past 15
years. The work of different investi-
gators may naturally be viewed by
transmitted light and by reflected
light, and (2) motion picture color
photography.

The discussion of the different proc-
esses as given in the lecture is pref-
aced by a description of the princi-
ples involved in the photographic re-
production of color.

A Catholic film review, La Revue
du Film, has been founded in Belgium.
It will be the official organ of the
Central Catholic Film Organization
and affiliated bodies. Important funds,
it is stated, have been put at the dis-
posal of the Catholic film organiza-
tions for production and distribution.

Negative Developing and First Print

Sound Track Specialists

The Laboratory of Personal Service

ASSOCIATED FILM ENTERPRISES

Phone GLadstone 5118

1056 Cahuenga Avenue

Hollywood

Janunnj, 19-11

The INTERNATIONAL PHOTOGRAPHER

Thirty -nine

Trueball
Tripod Heads

MODEL B

Their use for follow shots
assures smooth operation,
having an equal tension on
all movements. Also, their
action is unaffected by
temperature.

Fred Hoefner

Cinema Machine Shop

5319 Santa Monica Blvd.

GLadstone 0243 Los Angeles

MELROSE

Trunk Factory

UNION MADE Camera

Cases for
UNION CAMERAMEN

UNION MADE Camera Num-
ber Boards

Trunk and Luggage Repairing
Our Specialty

Automobile Trunks, Sample and
Make-Up Cases to Order

GLadstone 1872 646 N. Western
LOS ANGELES, CALIF.

V><2lSfl . . .

For professional Bell &
Howell and DeBrie cameras.
Send full description for cash
offer. Or telegraph Bass
Camera Company, 179 West
Madison street, Chicago,
Illinois.

With Compliments

Earl (Curly) Metz

Assistant Cameraman

James E. Woodbury

Portrait and Commercial
Photographer

GRanite 3333 5356 Melrose Ave.
Los Angeles, Calif.

RIES BROS., INC.

PHOTO SUPPLIES
GR 1185 1540 Cahuenga

Dr. G. Floyd Jackman

DENTIST

Member Local No. 659

706 Hollywood First National Bldg.
Hollywood Blvd. at Highland Ave.

GLadstone 7507 Hours:

And bv Appointment

9 to 5

Cinex Testing Machines
Cinex Polishing Machines

Developing Machines

Printing Machines rebuilt for

Sound Printing

Special Motion Picture Machine

Work

Barsam - Tollar
Mechanical Works

7239 Santa Monica Blvd.

Hollywood, California

Phone GRanite 9707

The new "Local 659" emblem.
Small, chic and attractive. Or-
der from your Secretary or direct
from manufacturers.

J. A. Meyers & Co.

822 South Flower Street
The largest jewelry factory

in the West
Diamonds — Watches — Jewelry

Phone GLadstone 4151

HOLLYWOOD
STATE BANK

The only bank in the Industrial

District of Hollywood under

State supervision

Santa Monica Boulevard at
Highland Avenue

Turn your scrap film and short
ends into cash

HORSLEY CHEMICAL
COMPANY

1123 Lillian Way GLadstone 5490
Hollywood

Forty

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Wishing everyone success for theNeivYear

VERNON L. WALKER

Specializing in

PROCESS
Miniature, Trick and Unusual Shots

Address 601 West Fairmont, Glendale, Calif.
DO. 5032-R HE. 1128

TO MY FRIENDS
./// over this Old World.

i wish you
Health
Happiness
Success

Glenn R. Kershner

42+5 Jefferson Ave., Culver City

W. A. SICKNER

FIRST CAMERAMAN

Complete Akeley Equip-
ment for Photographing
Sound Pictures

CRestview 7255 GLadstone 5083
HEmpstead 1128

Walter J. Van Rossem

PHOTOGRAPHIC LABORA-
TORY.
MITCHELL CAMERA No. 225,

COMPLETE, FOR SALE

HOlly 0725 6049 Hollywood Blvd.

Hollywood, California

E. J. OTOOLE

Assistant
HE 2539 HE 1128

Alvin Wyckoff

Multicolor

CLASSIFIED

FOR SALE— Cameras— Mitchell, Bell & How-
ell, Akeley ; lenses and accessories of all

kinds ; new and used. HOLLYWOOD CAM-

ERA EXCHANGE, 1511 Cahuenga Boulevard.

FOR RENT — Three Mitchell cameras, high
speed movements. 1000 ft. magazines. J. R.

Lockwood, 1108 N. Lillian Way. GR. 3177.

FOR SALE— CAMERAS

FOR QUICK SALE; — one Universal camera
complete with tripod «tnd good F3.5 lens,
magazines and carrying case. Guaranteed in
good condition and will sell for $100 cash.
Write Ray-Bell Films, 817 University Ave.,

St. Paul, Minnesota.

FOR SALE— Turret model Universal 2", 3"
and F:1.9 2" lens — four magazines, good
tripod, carrying case, dissolve, footage indi-
cator, in excellent condition. Cost over $700.00,
will sell for best price offered. Ray-Bell Films,
817 University Ave., St. Paul, Minn.

FOR SALE— MISCELLANEOUS

3 COOKE F:2.5 lenses— 3, 2 and 1%-inch, all
in micrometer mounts ready for mounting
B & H camera. A sacrifice price will be
quoted for cash. Ray-Bell Films, 817 Univer-

sity Ave.. St. Paul, Minn.

MITCHELL high-speed Camera No. 225. Van

Rossem, 6049 Hollywood Blvd. HO 0725.
FOR SALE— Bell & Howell Cinemotor. Used

one picture. $175. J. R. Lockv/ood. 1108
N. Lillian Way. GR 3177.

MISCELLANEOUS

WANTED— FROM GLOBE-TROTTING CAM-
ERAMEN FILM OF FOREIGN COUN-
TRIES. ADDRESS REX GORDON, 1215
JUNE ST., HOLLYWOOD. PHONE GR 6933.

SAVE 25 to 50% on Voigtlander, Zeiss, East-
man and Graflex Cameras. Hundreds of
new and used bargains to choose from. All
guaranteed for one year. Also Cameras re-
paired, rented, bought for cash, exchanged at
Peterson's Camera Exchange, 356 S. Broad-
way. Upstairs entrance Room 321.

WEBB-DOUGLAS
PRODUCTIONS

Completing

"SWANEE RIVER"

with Grant Withers, Thelma Todd

and Philo McCullough

for Sono-Art-World-Wide Release

Directed by Raymond Cannon

Harry Webb Supervising

ELMER G. DYER

HE8116-HE1128

Art Reeves
Cliff Thomas

Phone
HOHywood 9431

/(AMIM

EXCHANGE

The Clearing House
for Cameramen

Mitchell and Bell & Howells FOR RENT

Cameras and Projectors and
Accessories bought and sold

Commercial Photography

1511 N. Cahuenga Blvd.

HOLLYWOOD, CALIFORNIA

Kodak Supplies

Still Finishing

16 mm., 35 mm. Developed and Printed

>**"^Y /#n'r,e^

FEBRUARY • NINETE

A Few More of Our Current
Photographic Successes

Negative? (11 M I IN T ) Naturally!

«EG. U.S. PAT. OFF

CAMERAMEN

"Cimarron" R. K. O Eddie Cronjager

"Beau Ideal" R. K. O Roy Hunt

"The Royal Bed" R. K. O Leo Tover

"Stampede" Paramount Archie Stout

"Scandal Sheet" Paramount David Abel

"The Gang Buster" Paramount Harry Fischbeck

"Tom Sawyer" Paramount Charles Lang

"xi r> . m i tui r aa \ William Daniels

1 he L»reat Meadow M. d. M , -,, , ^ , T.

{ Clyde De Vinna

"Reducing" M. G. M Len Smith

"The Bachelor Father" M. G. M Oliver Marsh

"One Heavenly Night" United Artists , r> -ri i

J ( Gregg 1 oland

.<r>. i • i " /-i i- i i • i a \ Rollie Totheroh

t^ity Lights Chaplin-United Artists , ^ j D n i

J ^ I Gordon rollock

"Third Alarm" Tiffany Max Dupont

"Aloha" Tiffany Charles Stumar

"Sin Takes a Holiday" Pathe John Mescall

"The ''tiFPONP Trade Mark Has Never
Been Placed On An Inferior Product"

SMITH & ALLER. Ltd.

6656 Santa Monica Boulevard HOllywood 5147

Hollywood, California

Pacific Coast Distributors

For

DU PONT PATHE FILM MFG. CORP.

35 West 45th Street New York City

February, 19-31

The INTERNATIONAL PHOTOGRAPHER

Bell & Howell

EYEMO

.... three-lens turret
. . . seven film speeds

• Bell & Howell's characteristic precision of design
and workmanship has been carried even a step further
in the new Eyemo 71-C Camera, which establishes a
new record in flexibility of 35 mm. hand equipment.

The variable speed governor has seven speeds rang-
ing from 4 to 32 frames a second: 4, 6, 8, 12, 16, 24, and
32. A speed conversion dial is built into the side of the
camera, giving correct lens openings for any speed.

The permanently built-in hand crank in addition
to the spring motor is a new feature. Its use is optional
with the operator. The rotation of the crank is regu-
lated according to the setting of the speed indicator.
The governor acts as a brake, enabling the operation
of the crank at no greater than the speed for which
indicator has been set.

The turret will accommodate all lenses ordinarily
employed on the non-turret Eyemo. Lenses used on
previous Eyemo models may be remounted at the
Bell & Howell factory or branches for use with the new
71-C Turret Head Model. Write for folder No. 36-E.

• B & H AUTOMATIC COMBINATION •
16-35 MM. FILM SPLICER

Bell & Howell Standard Film Splicing Machines
are well-known for the quick, permanent splice
which they make — a splice which does not affect
film flexibility or encroach upon picture space. A
film joined on a B & H Splicer is perfectly welded
in accurate alignment, eliminating misframes and
other evils of inferior patching. With its new style
cutter blades and the heating unit which maintains
at a steady temperature all parts of the machine with
which film comes in contact, the B & H Splicer does
its work at highest efficiency. The new safety lock
grounded plug more than meets the rigid require-
ments of insurance underwriters. The Model No. 6
Film Splicer, a standard 35 mm.
positive splicer, is equipped with
disappearing pilots for splicing
16 mm. film. These pilot pins
are set diagonally, producing
the B & H diagonal splice with
nearly 30% more bonding sur-
face than a right angle splice. A
lever drops the 16 mm. pins out
of sight for 35 mm. splicing.
Write for catalog No. 36-S.

BELL & HOWELL

Bell & Howell Co.
1849 Larchmont Ave., Chicago, 111.

NewYork, 11 West 42nd St. Hollywood,
6324 Santa Monica Blvd. London (B & H
Co., Ltd.) 320 Regent St. Established 1907

Two The INTERNATIONAL PHOTOGRAPHER February, 1931

A PLEDGE

To Theatre Owners, Managers
and Projectionists to Maintain

TRADE MARK REG'D.

SUPREMACY

It has been our responsibility to satisfy the
needs of the motion picture industry and
to meet many emergencies created during
a period of extraordinary expansion and
unparalleled activity.

With increased manufacturing facilities and
closer contact with our selling organization
we pledge this great industry that we will
render even greater service and maintain
the high quality which has won a world-
wide supremacy for

TRADE MARK REG'D.

THE INTERNATIONAL PROJECTOR

INTERNATIONAL PROJECTOR CORPORATION

90 COLD STREET NEW YORK

INTERNATIONAL
PHOTO GPAPHE R

Official Bulletin of the International
Photographers of the Motion Pic-
ture Industries, Local No. 659, of
the International Alliance of The-
atrical Stage Employees and Mov-
ing Picture Machine Operators of
the United States and Canada.

Affiliated with

Vol. 3

HOLLYWOOD, CALIFORNIA, FEBRUARY, 1931

No. 1

"Capital is the fruit of labor, and could not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.

CONTENTS

La Voy Sees Samoans in Royal
Ceremonials 4

All in Cameraman's Day's Work 6

Dirt and Scratches 8

Conducted by Ira Hoke

Chicago 10

By Harry Birch

Teamwork and Cameramen 12

Recording Improvements Require
Higher Standards 14

Royal Families Real News Material. .15
By Ray Fernstrom

Theatre Installation Costs to Gain. .16

Long List of European Film
Magazines 17

European Film Items of Interest 19

Hatian Glories Vividly Portrayed by

Parichy 20

By Esselle Parichy

Chaplin's "City Lights" to Open in
Splendor 23

Dr. Mackenzie Chairman of Western
Engineers 23

Looking In on Just a Few New Ones. .24
By George Blaisdell

Eastman Plates Create Standards .... 28

Amateur Department 29

Will Manufacture Wax Records 29

How 16 mm. Hurdles Over Radio 31

When Industry Calls on 16 mm 32

How Operations Are Photographed. . .35
Amateur Magicians Make Sound
Screen Record 36

The International Photographer is published
and M.P.M.O.of the U
Entered as second class matter Sept. 30, 1930,

the act of M
Copyright 1930 by Local 659, I. A. T. S. E. and

Howard E. Hurd,

George Blaisdell Editor

Ira Hoke ------ Associate Editor

John Corydon Hill

Subscription Rates — United States and Can

Office of publication, 1605 North Cahuenga Av

monthly in Hollywood by Local 659, I. A.T.S.E.
nited States and Canada

at the Post Office at Los Angeles, Calif., under
arch 3, 1879
M. P. M. O. of the United States and Canada

Publisher's Agent

Lewis W. Physioc 1

Fred Westerberg S

- - - Art Editor
ada, $3.00 per year. Single copies, 25 cents
enue, Hollywood, California. HEmpstead 1128

Technical Editors

The members of this Local, together with those of our sister Locals, No. 644 in New York, No.
666 in Chicago, and No. 665 in Toronto, represent the entire personnel of photographers now
engaged in professional production of motion pictures in the United States and Canada. Thus
The International Photographer becomes the voice of the Entire Craft, covering a field that
reaches from coast to coast across North America.
Printed in the U. S. A. 1-^^>2 at Hollywood, California.

Four

The INTERNATIONAL PHOTOGRAPHER

February, 1931

La Voy Sees Samoans
In Royal Ceremonial*

WHILE many of the assign-
ments that fall to the news
weekly cameramen come within the
category of "tough" that is not true
of all 'of them. So thought Merl
La Voy when he got word from Pathe
that he was to be its representative
to accompany the American members
of the Ameriean-Samoan Commission
on its long journey across the Pacific.
The American representatives were
Senators Bingham of Connecticut and
Robinson of Arkansas and Congress-

Panel at left reading down: U. S.
cruiser Omaha, on which the Amer-
ican commission sailed 10,500 miles on
its Samoan visit. Samoan stages a
cockfight in front of his home for the
Pathe News' man. Old Nature stages
a cloud formation

men Bedy of Maine and Williams i
Texas. Accompanying them was Ca!
tain Furlong, chief of island gover'
ments of the navy. For transport
tion Uncle Sam assigned the cruisi
Omaha, and in the course of its jou
ney the stanch craft logged 10, 5(
miles.

The party left Los Angeles Se
tember 11 last and returned Octobi
Id, thirty-eight days later. Twent;
three days were spent at sea, thn
days at Honolulu and twelve days
American Samoa.

The primary objective of the cor;

Upper left centre: Commission hoW
session in headquarters of the Ma
Samoan political organization. Oi
posit e ■: Samoan girls dance for tl
Americans

February, 19-11

The INTERNATIONAL PHOTOGRAPHER

Five

ission was to investigate conditions
American Samoa and on the return
this country to draft a bill of rights
br the islanders for presentation to
bngress. It was the aim of the com-
ission not only to secure the opin-
Ins of the high chiefs of the islands
at to throw open the hearings and
[cure views from any one who cared
i come forward and talk.
Uncle Sam takes the Samoans seri-
iasly and seeks to legislate for them
I such manner as really will bring
I them the greatest good. It is in
jiat spirit that the United States
lavy has governed the islands for
ae preceding thirty years. It has
Itevented from getting a foothold the
'hite beachcomber element as well as
i her contaminating and degenerating
ifluences from which a majority of
land peoples have suffered through
jo close contact with certain types of
.hite men.

[ As a result of this policy and aided
V a progressive system of hospitali-

ower left centre: Kiru/'s kava cere-
oiiii held in honor of the Americans,
■pposite : Samoan ivarriors in hollow
mare put on one of their more
formal ceremonies

zation and related medical attention
the ten thousand islanders so far as
concerns health and living conditions
are better off than any other parallel
group in the Pacific.

The commission had under consid-
eration in the formulation of its re-
port three plans:

1. Setting up civil government.

2. Continuing as in the past under
naval administration.

3. Constituting American Samoa
as an ethnological park wherein the
natives may live their own lives as
the climate and environment in gen-
eral may indicate and remain free
from the untoward influences previ-
ously referred to and making them in-
dependent of the ordinary United
States civil administration.

In the twelve days the Americans
were in the islands they were royally
entertained by the Samoans, headed
bv Chiefs Pallee, Tufele, Monga and
Mongale. The visitors were strongly
impressed by the wisdom of the lead-
ers and the high standard of intelli-
gence noted in the Samoans generally.

Panel at ri<jht : Ceremonial dances
pat on by the Samoans in honor of the
American members of the commission

A^tAjJk u4 ,y/4 H

Six

The INTERNATIONAL PHOTOGRAPHER

February, 1931

All in Cameraman "s Day "s Work

It's Same to Him Whether Locked Up with Crazy

Bear or Recording- Women Convicts

Chanting- Lord's Prayer

BLACK bears may be all right in
quiet surrounding's if caught in
cub days by a human who sort
of pals with the critters, as such are
known on the ranch near La Junta
where Everett Marshall had reared
one fine specimen of the species.

But when that black bear gets into
an arena surrounded by cages with
other and strange bears — the first of
his kind the visitor had any recollec-
tion of seeing: — and 1500 shouting hu-
mans he is not good company.

All of which was suddenly and
somewhat thrillingly borne in on the
comprehension of J. L. Herrmann,
Local 659, Paramount sound news
cameraman, not so long ago at the
Swope Park Zoo in Kansas City.

Just as a preliminary to or ex-
ploitation stunt for the wrestling-
bouts for that evening in Convention
Hall Marshall had agreed to show
that a human could whip a husky
bear in the wrestling game. Back
there on his ranch he often had done
it, he insisted.

That looked like a story for the
news man, so Herrmann made ar-
rangements to get it, and exclu-
sively. Not to be handicapped by
shooting through troublesome and in-
tervening bars the cameraman sug-
gested that he be permitted to enter
the arena with the contenders. That
was okeh with the zoo man — but per-
sonally the outside looked very allur-
ing to him.

Okeh With Wife

When it came to the selection of a
referee there followed a series of
declinations. One was certain he
wouldn't photograph to advantage,
another was married, although his
wife expressed her entire willingness
he should take the chance; another
decided his sister would be unable to
drive the car home. Finally Frank
Cromwell, a member of the park
board, said he would oblige. "I'm get-
ting old, anyhow," he added.

But when Cromwell got a look at
the bear he decided to climb the bars
to the top near the microphone. "No
doubt you will want my decisions re-
corded on the film," he suggested.

The crowd yelled as the bear en-
tered the arena and the attending
grizzlies growled furiously. Smacks
on each ham by the flat of large
shovels tended in no noticeable de-
gree to impi-ove the temper of an an-
imal already quite flustered. In fact,
Bruin was frothing at the mouth and
plenty ugly. His claws were extend-
ed, his teeth bare, as the Kansas City
Times explained in more detail. Ke
bounded, feinted and snarled. Sweet
and toothsome chocolate temptingly

and timidly proffered seemed of no
avail.

In the meantime Herrmann and
George L. Graham, of Local 644, his
sound man, had been unable to se-
cure a picture. As a matter of fact
they were wondering how to avoid
supplying the animal with discon-
tented white meat. They took no
stock at the time in that herbivorous
stuff anyway. The signs were against
the truth of common report. They
wanted to go home, but the bear was
nearer the gate.

Finally after much excitement the
bear was shooed near the exit by the
hefty shovels that had welcomed him
into the arena. Disregarding the
warnings and aided by the aroma of
peanuts and chocolate they finally got
Bruin through.

Christmas Behind Bars

Herrmann and Graham breathed
not more easily but just breathed. Not
only had they saved their equipment
but their hides, too. And in the cir-
cumstances they considered it now
their turn to do a bit of celebrating
themselves. And Kansas City is a hos-
pitable town, even if some of its more
outspoken citizens did seem a bit put
out because of the inability of Mr.
Bruin to stage a Roman holiday over
a couple of cameramen.

It was the day before Christmas
when Herrmann and his sidekick
dropped into Jefferson City, where is
situated the Missouri Penitentiary.
They met up with the warden of the
institution, Leslie Rudolph, who for
twenty years has presided over its
destinies and within the past year has
had to combat two rather serious
riots.

Yes, he thought it would be all
right for the two men to come out the
next day and bring their equipment
and take a few pictures. He ex-
plained that conditions were rather
crowded, with 4400 on the roster and
many more arriving every day. Cells
designed to hold one person were
loaded with three or four.

After shots had been taken of men
parading by the guards and receiving
their Christmas dainties and of near-
by windows each filled with deeply in-
terested faces the warden conducted
Herrmann to the women's quarters,
where there is one ward for the white
women and another for the colored.

To the surprise and also the delight
of the news men the warden decided
to contribute to the holiday spirit by
bringing out on the lawn fourscore of
the women prisoners, all garbed in
white uniforms.

With the grim walls of the build-
ings forming a picturesque if forbid-
ding backkground the whole company

John L. Herrmann

sang "Smiles." After a lot of close-
ups the negro women sang revival
hymns. The same group indulged in a
dance. There followed many close-ups
of nimbly moving feet.

From "Smiles" to —

Then with the white women in
front and the colored ones in a row
behind the group chanted the Lord's
Prayer.

The gayety that had marked the
faces of the women for a few too
brief moments no longer was in evi-
dence. Countenances now were set and
serious. Only too plainly revealed be-
hind each were crowding memories of
other and tender days, of circum-
stances under which there first had
been implanted in the mind the sim-
ple words of the ages old prayer.

Even the spectators, many of them
hardened and all of them more or less
immune to unusual scenes, were
deeply moved.

A couple of days later in Holly-
wood, where Herrmann had come to
spend the holidays with Mrs. Herr-
mann, the cameraman admitted he
never had experienced a moment quite
like that strange one at Jefferson
City.

Herrmann left the coast on the
morning of December 31, arriving at
Wichita at 7 o'clock that evening.
At noon the next day he again took
the air, and in 2 hours and 20
minutes he landed in Omaha. From
there he took the train to Minneap-
olis.

In the last few months in the course
of a good-will tour to Paramount ex-
changes Herrmann has covered Louis-
iana, Mississippi, Arkansas, Okla-
homa, Texas, New Mexico, parts of
Arizona and Northern Mexico.

JVi.A^D A - ~ not the name of a thing, out the mark of a research service

Tour

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Eight

The INTERNATIONAL PHOTOGRAPHER

February, 1931

era

IRA HOKE

Cousin Albert?

Assistant Cameraman — Who you
shootin', Buddy?

Still Man (about to photograph
Einstein) — Whv, don't you know?
That's one of the greatest men in the
world.

Assistant (in awe) — The Pope?

Still Man— Oh, no. That's Profes-
sor Einstein, the —

Assistant — Say, I heard about him !
He's the man Universal brought
over here to untangle the relative-ity
situation at the studio.

Not a Chance

First Actor — I hear you have a
part in the new R. O. W. feature
talkie?

Second Actor — Yeh, I finally landed
a bit.

First Actor — Is it a speaking part?

Second Actor — No. You see I play
the part of the leading woman's hus-
band.

Perfect Alibi

Business Agent — What are the
charges, Pat?

Pat — It was like this. Mike bor-
rowed a still camera from me and
when it was returned the ground
glass was broken.

Business Agent — Mike, what havj
you to offer in defense of yourself.

Mike — I have been accused un-
justly. In the first place I did not
borrow any still camera from Pat.
In the second place it was in good
condition when I returned it. And
in the third place the ground glass
was broken when I received it.

The Danger Line

Otto Dyar, publicity photographer
for Paramount, says his idea of a
successful actress is one who has two
sets of teeth. One for eating, the
other for posing for tooth paste ads.

Strange as it Seems

Cannon and Ball operate a portrait
studio on Sunset Boulevard.

Them Satchels

Director — Quick, Props, the leading
lady is looking for her rings. Find
them, somebody.

Cameraman — That's easy. They're
right under her eyes.

Like X in Soap

The company had just emerged
from projection room "B" after see-
ing the daily rushes. One of the big-
shots remarked casually to the direc-
tor: "Mike, the last scene vill haff to
be retaken."

"What was wrong with that one?"
asked the director.

"Diction," answered the big shot.

"Diction?" gasped the director.
"Why, I heard every word perfectly."

"Oh, you did, did you? Veil, I didn't.
I couldn't hear the final k in swim-
mink."

A Light Task

Ed the electrician says the only
thing he doesn't like about the movies
is the lights.

News with a Bang

Live wire news cameramen resort
to ingenious devices occasionally to
build up a lead for a story. John
Herrmann, 659, ace photographer for
Paramount News, recently tried to
break up a quiet week by inserting
the following ad in the Kansas City
Star and the Kansas City Post. Of
course both papers refused to run
the ad, but its wording is a master-
piece just the same. Here tiz:

"We are interested in securing
scene of a first-class bank robbery.
Any bandits in or about Kansas City
contemplating a first-class hold-up in
the near future kindly advise Mr. J.
L. Herrmann, Paramount News Cam-
eraman, Robert E. Lee Hotel, Kansas
City, Mo. Information will be held
in confidence."

Life in the Movies

Cameraman — I live next door to a
movie singer, and every time she
practices her songs her husband
rushes out to the front porch and
remains there till she finishes.

Propertyman — Why does he dn
that?

Cameraman — So all the neighbors
can see that he is not beating her.

Attention Mr. Hoover

The hanging scene in "A Connecti-
cut Yankee in King Arthur's Court"
suddenly faltered during rehearsal.

"I need a little dialogue here for
this jailer as he comes to free you
boys," said Director David Butler,
turning to Will Rogers. "Can you
give me an idea, Will? Remember he
is supposed to be crazy."

"Crazy, eh?" said Will. "Suppose
you have him say, 'I predict prosper-
ity for 1931.' "

Boy Wonder

Cameraman — Jimmie, your reports
are all balled up. I don't believe you
know the first thing about mathe-
matics.

Assistant — On the contrary, sir,
mathematics is what I am best in.
Just ask me some questions and I'll
prove it.

Cameraman — O. K. How many
make a dozen?

Assistant — Twelve, sir.

Cameraman — A gross?

Assistant — 144.

Cameraman — Well, then, how many
make a million?

Assistant — Very few, sir. Very
few.

Enie Menie Minie Mo

Jimmie — That actor over on "B"
set is the nerviest fellow I ever heard
of.

Art — Howzat?

Jimmie — When his rich uncle lay
on his deathbed what did that bird do
but send him a bouquet of forget-me-
nots.

These Dull Times

M. Kains — The Scotch have a new
use for old razor blades.

M. Hall— What do they use old
razor blades for?

M. Kains — To shave with.

Her Number

Speed Mitchell says — Don't kick if
you can't get central. It took her ma
and pa 18 years to raise her.

And How—

Assistant Cameraman (absentmind-
edly fumbling several greenbacks) —
Did you ever see a nine-dollar bill?

Second Cameraman — Certainly not,
dumbell. They don't make 'em.

Assistant Cameraman — Well, any-
way, here's one I just received from
Local 659 for my quarterly dues.

Short Story

"Merry Christmas in Hollywood"
Once there was a beautiful but poor
actress in Hollywood who wanted a
fur coat. So she worked and saved.
Finally came the day when her pass
book showed the necessary amount,
and the brave little actress went down
to the bank to get her money. Alas,
there was a piece of paper pasted on
the closed door of the bank. Mr.
Beesemyer also wanted a fur coat
for Christmas.

THE END.

Prague Players Cooperate

According to the European press a
group of Czechoslovakian film work-
ers has founded in Prague a motion
picture cooperative society called
"Cefid." Among its members are
Charles Lamac, Anny Ondra, Ota
Heller, V. Wassermann, K. Hasler,
Mac Fric, Suzanne Marwhille and
many other Czech players and direc-
tors.

The chief aim of this society is to
organize systematic production of
Czech talking pictures and to demand
financial and moral support of the
Czechoslovak Government in order
that a new sound studio may be
erected in Prague.

February, 1D.J1 The INTERNATIONAL PHOTOGRAPHER Nine

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I icrlrc

The INTERNATIONAL PHOTOGRAPHER

February, 1931

Teamwork and Cameramen

THE artist for Foreign Serv-
ice V. F. W. for January
who conceived and executed
so excellent a thought over the
caption of "Teamwork" had a
large subject for his sermon.

For cameramen, too, have
learned in the years that it is
impossible to defeat the objec-
tives of a teamwork translatable
into terms of intelligent direc-
tion or leadership and enthus-
iastic and unanimous member-
ship; that such teamwork is in-
vincible.

Cameramen have learned that
teamwork is an empty word
when it signifies to any one in
their ranks nothing more than
half-hearted support of a guild
the formation of which in his
own view was not indicated by
his apparent welfare or that of
his confreres.

/CAMERAMEN have learned
^* that teamwork is a vital,
pulsing word when it makes
vocal in name and in fact the
unification of all the individuals
of a craft, lesser as well as
greater, younger as well as older,
moderately as well as more
highly endowed; when it means
a solid front and backed by a
solid square of men animated by
a single purpose:

The welfare of a craft in its
entirety.

/CAMERAMEN have learned
^^ that as the guilds of the
Middle Ages were the first to

OK /fir**

Teatn toork,

bring democracy into a world
dominated by a feudal system
intrenched through ages of dis-
regard for the least of the indi-
cated rights of mankind — that
even in instances the guilds com-
pelled recognition on an equality
with the hitherto all-powerful
nobles — so their own guild of to-
day is a democracy in itself ; that
as that guild progresses so, too,
will they as individuals and like-
wise their successors in coming
generations progress.

AS THE comparatively new
art of photography repro-
duces in actuality the "form and
pressure" of the age while lan-
guage at best only can aim to
create a picture that is mental
so photography in the years to
come by reason of its undisputed
fidelity to things as they are
gradually will compel printing to
yield to it an equal or perhaps

the major place in any position
it may claim to possess as "the
art preservative of all arts."

TN THE development of pho-
-*- tography motion picture and
still cameramen have had great
opportunities, such as are bound
to fall to pioneers. The progress
of photography as an art in the
future will lean more heavily on
the membership of the photo-
graphic guilds than will be pos-
sible in the case of the detached
individual.

For history — the history of
the Middle Ages — will repeat it-
self. The great camera artists
of the guilds of today through
their apprentices and associates
will lay the foundations for a
continuing and cumulative tech-
nique that will be handed down
from one generation to another.

' I ''HAT their infinite patience
-* both in field and laboratory
will result in the monetary en-
richment of a comparative few
is a matter of minor conse-
quence.

The large fact will be they are
creating a background of tradi-
tion for an important art. Also
and by no means unimportantly
they will be contributing to the
entertainment and edification of
the world of today — and through
the governmental establishment
of libraries for photographic
subjects of historic or cultural
interest to the education of the
world of tomorrow.

^'oA

"OOR^

Gream o th Stills

**Wo*.

Street scene in Taxco, Guerrero, Mexico. Taxco is one of the first spots in the western world to be touched
by European civilization, having been founded in 1522, but thirty years after Columbus reached these shore*.
Roberto A. Turnbull, the photographer, adds the first silver sent from, Mexico to Spain was mined in this

village by its fou nder, La Borde.

!»5^.

'°grn*

@ream oth $tills

,*^?<fc.

boRN^

/£'s a /owfif drop to
the Antarctic region
where Joe Rucker,
one of the camera-
men with the By id
expedition, photo-
graphs a dog team
setting out from
Little America to
establish an emer-
gency airplane camp
400 miles above the
south vole.

Here is a contrast
supplied by Gordon
Avil as he lays his
Camera across the
hazy Bay of Tunis,
at almost the north-
ern tip of Africa.

♦SATyo,.

Qream a th Stills

C**?L'°JL

Hugging the equator-
Lewis Physioc gives
us this 'peaceful
view of the Kuan-
tan River in Pa-
hang, Malay States.

Here's a real thrill
for a real Irishman
— and also for many
who are not. It is
the Colleen Bawn
Rock in the Lakes
of Kdllarney, Ire-
land, photographed
twenty years ago
by George Hollister
when on- location
with the Kalem
company, the first
international troop.

tf^l'Os.

Qream oth^tills

cfWo*.

While crossing the Gulf of Corinth in Grecian waters in 1919 with an American army detail conveying am-
bulances to Salonika Paul Ivano was attracted by the scene — and no wonder.

Photography by

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of a picture mean you, you are justly
proud — provided your artistry has
been fully recorded by your film. Con-
trol the film factor with Eastman Pan-
chromatic Negative, Type 2. Try it in
your next picture. Get accustomed to
it. Then you will use it exclusively,
for it brings you the finest combina-
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disposal of the cameraman.

EASTMAN KODAK COMPANY

ROCHESTER, NEW YORK

J. E. Brulatour, Inc., Distributors

New York Chicago Hollywood

Fourteen

The INTERNATIONAL PHOTOGRAPHER

February, 1931

Recording Improvements Require

Higher Standards Down the Line

NOISELESS recording is sound-
ing the death knell of slipshod
talking picture producing and
processing, according to H. B'. Santee,
Electrical Research Products' director
of commercial engineering, who has
just returned to New York from a
survey of the Hollywood studios using
Western Electric.

Practically all of them have in-
stalled or are installing equipment
for noiseless recording. They are
unanimous in agreeing that this
recording marks the greatest mile-
stone in talking picture progress sine 3
sound itself was introduced. They
agree that the new recording will
necessitate a more rigid adherence to
standards in production recording and
in processing.

"The difference is that under the
old recording methods a certain
amount of deviation was permissible
from these standards," Santee ex-
plained, "because any slight imper-
fections in the noises were masked by
the ground noises themselves. Now
with the ground noises eliminated by
the noiseless recording, the other im-
perfections will be painfully obvious.
The only alternative is going to be an
insistence upon a standard of record-
ing and processing that does away
with them.

Standard Unchanged

"We want to make it clear that the
standard itself is unchanged. What
was best under the old system of
recording is still best and has been
retained. What is being changed is
the greater need for adherence to this

standard to bring out the superior ad-
vantages of noiseless recording.

"It is in this general policy of
exacting more rigid standards all
around, as well as in the direct tech-
nical improvements, that noiseless
recording is proving itself such an un-
precedented benefit to the industry.
The improvement applies not only to
the studio and the film laboratory but
also to the theatres, where a more
rigid inspection and maintenance of
reproducing equipment will be essen-
tial.

"The producers with whom I talked
all felt that this 'tightening up' would
react to the general benefit of every
one in the industry. They stressed
that with a better quality of record-
ing and reproducing better talking
pictures could be seen and heard in
theatres, old fans would be held and
new ones would be created for the
general profit of the people in the
talking picture field."

Censors Pass Five a Day

The report of the British Board of
Film Censors indicates that during
the month ended November 30 last
there were 148 films submitted and
passed by the board during that time,
according to Trade Commissioner
Martin H. Kennedy, London. Of this
number there were 59 new feature
films (3,000 feet or over) submitted,
40 of which were sound synchronized
while 13 were silent.

Included in this number are also
89 short films, 25 of which were silent,
while 64 were sound synchronized.

The Girl Knows Now You
Can't Stop a News Man
When His Mind is "Sot"

OM ONE of the twelve festive days
on which the American members
of the commission to Samoa were
entertained by the islanders one of
the local belles had been photographed
in company with several of the Ameri-
can dignitaries — and her well-crowned
head had been expanded accordingly.

Not to be outpointed by any com-
mon ordinary United States Senator
the official photographer of the com-
mission, Merl La Voy of Pathe News,
handed a still camera to a friendly
sailor, with instructions to snap him
"when I get that jane by the hand."

In an unguarded moment — on the
part of the aforesaid belle — the
camerman grabbed the girl by the
hand. She sensed what was coming.
Instantly her gorge rose. You will
note it in the expression on her face.
Such humiliation, to be photographed
in company with a cameraman after
having stood alongside United States
Senators!

The friendly sailor got his cue. In
most craftsmanlike manner he per-
formed his whole duty.

You recall that old wheeze about
the gleam of triumph that shone on
the face of the tiger following his
brief controversy with the canary?
You will find its counterpart in the
features of La Voy.

At royal moose hunt in Sweden — Baron Bonde, Spanish Minister, at fence be-
hind camera; King Christian of Denmark against fence, Prince Karl, brother1
of Swedish king, at right; Fernstrom at camera.

Swedish Sound Producer

Installs in 60 Theatres

I.N Stockholm the Aktiebolaget
Svensk Filmindustri, the foremost
film producer and exhibitor in
Sweden, has opened two new theatres,
one in Stockholm and one in Jonko-
ping. according to a report received
in Washington from Commercial At-
tache T. O. Klath of Stockholm,
Sweden. The introduction of the
sound films has forced the company
to change its policy quite consider-
ably.

The production of Swedish pictures
has necessarily been increased, and
the activities of the company have
been concentrated on producing Swed-
ish talking pictures.

The company has spent considerable
money for equipping about sixty of
its theatres with sound reproducing
apparatus.

February, 1931

The INTERNATIONAL PHOTOGRAPHER

Fifteen

Royal Families News Material

Susceptible to Lure of Camera Just Like Other

Humans, Says Weekly Cameraman Who

Finds Them Good Fellows

By RAY FERNSTROM

WE AMERICANS have long ad-
mired the democracy of those
few remaining monarchs of the
world. True, they do not have the
mighty grip of past rulers, but yet
they reign and are happy. Several
times have we read of kings ready to
become presidents or renounce their
thrones if their people wished, but in
the end reigned on.

This writer has had the pleasant
privilege of mingling informally with
a few of these kings and princes.
But then, newsreel photographers do
enjoy a number of privileges in cover-
ing their assignments that few have.
During my two years in EuroDe the
royal families of Sweden, Denmark
and Norway struck me as real news
material, for they not only ruled their
countries in the old way but were
ardent sportsmen and reported to be
quite democratic.

One day in Stockholm I read of the
forthcoming royal moose hunt. King
Gustaf of Sweden had invited King
Christian of Denmark to accompany
him to the province of Vermland for
a three-day hunt. Here was a pic-
ture.

Without any previous arrangements
I hopped the train for Vermland for
the first day's meet, trusting to luck
for a picture. The next morning
found me set up and smoking near
the two royal private cars in a rail-
road siding.

A special gravel path had been laid
beside the track, flowers transplanted
and a little white fence erected.

As I stood there alone, a tall man
in a felt hat and gray short coat came

out of the Swedish car and sauntered
slowly toward me.

We chatted for a while in Swedish
until he noticed the name of the com-
pany I represented, when he switched
to perfect English. His interest
heightened, he asked if I were Ameri-
can, which I affirmed.

"But you speak Swedish?"

"Yes, my father and mother were
Swedish and had taught it to me at
home in the States."

"Are you coming with us to the
hunt?" he asked.

"Yes, if I can get the king's per-
mission."

"We should be pleased to have you,"
he replied, smiling, with eyes twin-
kling behind his spectacles.

It was the Swedish King. My heart
sank. Here I'd been talking to a
king and hadn't recognized him in his
hunting suit.

Just then another tall, dark man
joined us, and I was introduced to
him, King Christian of Denmark.
They looked more like a couple of tall
young college men on a vacation than
real in-the-flesh monarchs.

After a busy morning of hunting
and shooting pictures we ate luncheon
at a little farmhouse that had been
honored to feed the royal party. With
luncheon past, King Gustaf ordered
his party together so I could shoot
the group and make closeups.

As I "moved in" for a close one
of King Christian he asked how he
should act before the camera, since
as I explained millions in America
would see him. "Just take off your
hat in a greeting."

This he did and smiled broadly,
his black mustache bristling. In every
scene from then on he took off his hat
and bowed most cordially.

From that day on, every time the
king of Sweden appeared in my news
pictures he would smile and salute as
we both undoubtedly thought of the
King of Denmark on that hunt in
Vermland.

Prior to their American trip the
Swedish crown prince and princess
took a trip through the provinces.
It was my privilege to go along with
the old camera.

The crown prince is equally as
democratic as the king, but gives one
the impression of a real business man,
and he is. As tall as his father but
not quite as thin, he wears spectacles
and speaks perfect English and has
a great interest in the United States.

While on this trip I wanted a still
picture made of the crown prince
cranking my camera as I stood along-
side. The still man with us agreed,
and I waited for the chance, caution-
ing the still man to watch, too.

One morning the prince came out
to wait for the crown princess, who
had gone for a walk with her ladies
in waiting.

Here was our chance. The prince
came over, and displaying an interest
in the camera I started to show it
to him. The still man watched. Just
then the crown nrincess returned.

"Let me make a movie of my wife,"
the prince asked hurriedly.

"Certainly, go ahead," I hastened
to answer.

What a still ! The crown prince
making movies of the crown princess.

"Did you get her in it, too?" I
asked the still man.

"No, I thought you only wanted
the two of you."

Uh ! What a break, for the crown
princess was terribly camera shy.

Late Queen Victoria and King Gustaf of Sivedeyi as they
appeared on visit to Island of Gottland

On moose hunt in Vermland, Sweden, left to right in front
— King Christian, King Gustaf and Prince William

Sixteen

The INTERNATIONAL PHOTOGRAPHER

February, 1931

Theatre Installation Costs to Gain
Rather Than Decrease, Says Erpi

THERE is no prospect of lower
prices for sound picture equip-
ment, according to C. W. Bunn,
sales manager of Electrical Research
Products Inc. "I am sometimes asked
by exhibitors when the prices of re-
able sound apparatus for theatres
are going to come down," said Bunn.
"My answer is that, so far as our
company is concerned, there is no
prospect of any reduction. Believing
as we do that the future of the sound
picture depends upon a high standard

of quality, the resources of our com-
pany are being principally devoted to
maintaining and improving that qual-
ity.

"The public is simply not willing to
stand for poor sound, and if more
people are to be attracted to theatres
a lot of theatres which are now giv-
ing indifferent reproduction have got
to improve it, and theatres which
have not yet bought might just as
well not buy if the price consideration
is to be foremost.

jXA

now- the outstanding development
in set lighting

INTEGRAL
INKIES

Actually the most efficient
lighting unit ever conceived
and produced » » » the new
Integral Inkie.

Until now, noiseless recording
and reduction of background
noise has been the industry's
major problem. However, the
new Integral Inkie absolutely
eliminates all cracking and
popping sounds.

Here is the ultimate » » the out-
standing development for mod-
ern incandescent set lighting.

MOLE-RICHARDSON, INC.

941 North Sycamore Avenue
Hollywood ♦ ♦ ♦ California

"As evidence that it is impossible
to try and manufacture adequate
equipment to meet a price basis it is
only necessary to point to the records.
Over 116 manufacturers have gone
out of business trying to manufacture
en a policy of cheap prices with no
service.

Projection Must Improve

"Such reductions in price as our
company was able to put into effect
in 1929 and 1930 came about as a re-
sult of economies in large scale manu-
facture and the fact that the wide-
spread installations of our equipment
throughout the country enabled us to
service them at a lower cost per
theatre.

"Lower costs to be expected from
simplified design are not in the pic-
ture at present because the tendency
in the studios as a result of the in-
troduction of noiseless recording is to
make pictures even better than be-
fore, and this throws even greater
responsibility on the projecting ap-
paratus in the theatre to reproduce
such pictures up to the same stand-
ard.

"Our service organization right
now is tuning up Western Electric
installations in theatres all over the
country so that they will be able to
do justice to these new pictures as
they come from the studios, and the
problem for the exhibitors, therefore,
as I see it, is to set their minds to
giving their patrons the best and not
waste time waiting for bargain prices
on equipment.

"It is natural for exhibitors to want
to buy at the lowest possible price,
but many of them who are now await-
ing lower figures lose sight of the fact
that, since the introduction of sound,
prices have been reduced to a point
where reliable equipment can now bi'
bought for less than the average
theatre used to pay for suitable musi-
cal accompaniment for its silent pic-
tures.

"Our own company's policy has
been to make only a reasonable profit
over and above our costs. Prices will
not be reduced simply to meet com-
petition. Indeed, looking ahead to
1931, it seems to me that if we are to
maintain a fair margin of profit this
year, the trend of prices on theatre
equipment capable of providing the
new standards of reproduction is
more likely to be upward than down-
ward."

Engineers Getting Ready

The spring meeting of the Society
of Motion Picture Engineers will be
held in Hollywood May 25 to 28, ac-
cording to announcement by W. C.
Kunzmann following a recent meet-
ing of the board of governors.

O. M. Glunt, Chairman of the pa-
pers committee, already has begun
work in securing representative
speakers and papers for the meeting.

The last meeting to be held in
Hollywood was in the Spring of 1928.
With so many new developments
brought about by sound in the studios
since then the coming convention is
expected to be of great interest and
value to the members of the society.

February, 1941

The INTERNATIONAL PHOTOGRAPHER

Seventeen

Long List of European Magazines
Devoted to Interests of Film Men

THE following- list of film maga-
zines in Europe, compiled from
data furnished by the foreign
office of the United States Depart-
ment of Commerce, covers only maga-
zines dealing exclusively or predomi-
nantly with motion pictures and in-
cludes both fan and trade magazines.
While the motion picture division can-
not guarantee that this compilation is
complete every attempt has been made
to make it as accurate and up-to-date
as possible. No responsibility can be
assumed for the character or financial
standing of any of these publications,
states the bureau.

Europe

United Kingdom — Bioscope, Fara-
day House, 8 Charing Cross Road,
London. Weekly.

Boy's Cinema Amalgamated Press,
Ltd., Fleetway House, Farrington
street, London. Weekly.

Cinema News and Property Ga-
zette, 80 Wardour street, London.
Daily.

Cinematograph Times, Cinemato-
graph Exhibition Association of Great
Britain, Broadmead House, Panton
street, London. Weekly.

Daily Film Renter and Moving
Picture News, Pictures and Pleasures,
Ltd., 58 Great Marlborough street,
London. Daily.

Film Review, W. G. Faulkner & Co.,
Ltd., 72 Oxford street, London.
Weekly.

Kinematograph Weekly, Oldham's
Press, Ltd. 85 Long Acre, London.
Weekly.

Today's Cinema, 80 Wardour street,
London. Daily.

France — Cinematographic Fran-
caise, 19 Rue de la Cour-des-Noues,
Paris. Weekly.

Courrier Cinematographique, 28
Boulevard St. Denis, Paris. Weekly.

Comoedia, 51 Rue St. Georges,
Paris. Daily.

Cine-Export Journal, 66 Rue Cau-
martin, Paris. Monthly.

L'Ecran, 17 Rue Etienne Marcel,
Paris. Weekly.

La Semaine Cinematographique, 48
Boulevard Beaumarchais, Paris.
Weekly.

Bulletin de la Chambre Syndicale
Francaise de la Cinematographic, 13
bis, Rue des Mathurins, Paris. Month-
ly.

Germany — Film Kurier (official
organ of German Exhibitors' Asso-
ciation) Kothenerstr, 37, Berlin,
Daily.

Der Film, Ritterstr, 71, Berlin
S.W. 68.

Kinematograph Verlag Aug Scherl,
Ximmerstr, 35/'41, Berlin. Daily and
Weekly.

Lichtibildbuhne, Friedrichstr 225,
Berlin. Daily and Weekly.

Reichsfilmblatt, Stallschreiberstr,
34, Berlin, S. 14.

Suddettsche Filmzeitung, Pesta-
lozzistrasse 1, Munich. Weekly.

Film Magazine, Berlin. Weekly.

Italy — I Cinema Italiano, Via Pa-
lermo 8, Rome. Periodical.

L'Eco del Cinema, Via S. Antonio
8, Florence. Monthly.

II Cinematografo, Via Lazio 9,
Rome. Fortnightly.

Cine Mondo, Via Principe Oddone,
20, Turin. Fortnightly.

La Rivista Cinematografica, Via
Ospedale 4 bix, Turin. Fortnightly.

Kines, Via Aurelians 39, Rome.
Weekly.

La Cinematografia, Via S. Maurilio
20, Milan. Periodical.

La Vita Cinematografica, Via Pio
Quinto 17, Turin. Monthly.

II Corriere Cinematografico, Via
Pio Quinto, Turin. Weekly.

Cinema Teatro, Via in Arcione 71,
Rome.

Cine Giornale, Via Sorgente 5,
Trieste. Periodical.

Piccolo, Bari. Weekly.

Kinema, Via Fratelli Bronzetti 1,
Milan. Weekly.

L'Arte del Cinema, Via Alessan-
drini 20, Bologna. Weekly.

Belgium — Cinema, 16 Courte Rue de
1' Hospital. Antwerp.

Film Revue, 16, Courte Rue de 1'
Hospital, Antwerp. Weekly.

Spectacles de la Scene de l'Ecran
et de la Vie, 19, Rue de Pepin, Brus-
sels. Weekly.

Revue Beige du Cinema, 64, Boule-
vard Emile Jacqmaine, Brussels.
Weekly.

Cinema, 34 Rue du Marche aux
Poulets, Brussels. Weekly.

Culletin de 1' Association Cinemat-
ographique de Belgique, 109 Rue
Verte, Brussels. Monthly.

Bulletin de la Federation Beige
Cinematographique, 10, Place Rogier,
Brussels. Fortnightly.

Netherlands — Nieuw Weekblad voor
de Cinematografie, Nieuwe Mostraat
24, The Hague. Weekly. (Leading-
trade magazine).

Kunst en Amusement Douzastraat
1, Lekden.

Cinema en Theatre Douzastraat 1,
Leiden.

Czechoslovakia — Filmov Oficielni
Organ Svazu Filmoveho Obchodu a
Prumyslu, 31 Vodiochova ul., Prague
II.

Zpravodaj Zemsheko Svzu Kinoma-
jitelu v Cechach, Palac Feniz, Vac-
lavske nam, Prague II. Monthly.

Studio, 6 Purkynova ul. Prague II.
Monthly.

Internationale Filmschau, Palac
Lucerna, Vodickova ul. Prague II.
Monthly.

Lichtspeilbuehne, 11 Teichgasse,
Usti n.l. Monthly.

Filmovy Kuryr, Palac Olmpic Spa-
lena ulice, Prague II. Weekly.

Cesky Filmovy Epravodaj Mace-
skuv Palac, Fochova tr., Prague XII.
Weekly.

Austria — Kas Kinojournal, Neu-
baugasse 25, Vienna VII.

Mein Film, Canisiusgasse 8, Vienna
VII.

Oesterr, Rilmzeitung, Neubaugasse
36, Vienna VII.

Switzerland — Cinema Suisse, organ
of Swiss film renters, rue du Theatre,
Montreaux. Bimonthly.

Spain — La Pantalla, Passeo de San
Vicente 20, Madrid.

Arte y Cinematografia, Aragon 235,
Barcelona.

Biblioteca Films, Valencia 234, Bar-
celona.

El Cine Seneca 9 y 11, Barcelona.

El Mundo Cinematografia, Valencia
200, Barcelona.

DUNNING

Process Company

A few current releases containing Dunning Shots

"What a Widow" — Gloria

Swanson
"On the Level" — Fox
"Lonely Wives" — Pathe
"Her Man" — Pathe
"Romance" — M-G-M
"Holiday"— Pathe
"The Lottery Bride" — United

Artists

"Feet First" — Harold Lloyd

"Beau Ideal"— R-K-O

"Dirigible" — Columbia

"Assorted Nuts"— R-K-O

"East Lynne" — Fox

"Millie" — Charles Rogers
Prods.

"See America Thirst" — Uni-
versal

"Discontent" — James Cruze

"You Shoot Today — Screen Tomorrow"
932 No. La Brea Ave GL 3959 Hollywood, Calif.

Eighteen

The INTERNATIONAL PHOTOGRAPHER

February, 1931

Commerce Department Is

Seeking Data Regarding

Use of Business Films

'~r~^0 what extent the American
motion picture has "gone into
business" as an aid in promoting
operating efficiency and the degree of
success attending the use of such
methods by industry form the subject
of a special study now being made by
the Motion Picture Division of the
Bureau of Foreign and Domestic
Commerce.

At least 2,000 concerns in the
United States, it is known, have used
the motion picture for some business
purpose. In other cases the ends

sought are creation of good will
through illustration of the firm's
products or services. Safety and effi-
ciency of plant operation are being
promoted and better personnel rela-
tions secured by many firms through
exhibition of educational films within
the organization itself.

The Commerce Department through
a questionnaire addressed to these
2,000 concerns is seeking to determine
how extensively the films are being
employed for these various purposes
and how efficient in point of results
they are found to be.

With regard to the public use of
business movies in particular the com-
merce Department wants to know

The <5E£o

"TRADE MARK

MUTE

Six months of trial, tribulations and tests, under the best
and worst conditions, sound stages and locations, fair weather
and rain . . .

And the Baby Sun Arc operated 1 00 per cent efficiency,
1 00 per cent of the time, and never made a SQUAWK.

This is a SILENT arc, as its name, the Mute, implies —
not just quiet, but SILENT. Designed and built on scientific
lines throughout.

Comparative tests have proven the high efficiency of its
light value. Light in weight, compact, low current and carbon
costs, are features to be considered.

And COOL ... get this feature of the Mute. A Cool
lamp house with a Hot light. Scientific ventilation permits
this.

This lamp is certainly the answer to the sound man's
prayer.

Creco, Incorporated

1027 N. Seward Street

Hollywood, California

U. S. A.

Day Phones:
GL— 4 1 8 1
GL— 4182

Nite Phones:
Mac Gibboney — GL. 5284

Johnny Neff N. Holly. 509

Frank Merritt OX. 6557

from each firm the number of persons
viewing its films in the course of a
year in schools, theatres, trade meet-
ings, etc.; how difficult it is to ar-
range for showings, and the places
in which the showings are found to
be most profitable.

The planning and control of motion
picture campaigns for business pur-
poses, technical problems of produc-
tion and distribution, and methods of
measuring the efficiency of the use
of films in the different branches of
business are also dealt with in the
Commerce Department's question-
naire.

What the department finds out is
expected to shed much light on the
use and value of motion pictures in
business, and help formulate plans
for the most effective use of films.
The experience record of past users
of films in business will be of assist-
ance, it is believed, not only in sug-
gesting successful methods of pro-
cedure in securing best results with
new productions, but also in helping
to obtain a more extensive and pro-
ductive use of films which may be
already in use. A combined expe-
rience record in this field will also
offer a standard by which the success
of motion picture activities in general
may be gauged.

Replies to the Commerce Depart-
ment's questionnaire are already be-
ing received, and the Motion Picture
Division expects to have the results
of the study in form for publication
within the next few months.

Use Four Projectors for

iiHell,s Angels'''' in London

Additional equipment has been in-
stalled by Western Electric for the
adequate reproducing of "Hell's An-
gels" at the London Pavilion, Lon-
don, England.

Four projectors are being used, two
to project the picture and two to pro-
ject the sound track, setting a prece-
dent for sound picture projection hi
the British Isles. In addition to the
large magnascopic screen, eight extra
ainplifiers, six extra horns and 29
extra amplifier valves are included in
the equipment.

Projectionists Honor Wilcox

P. A. McGuire, executive vice presi-
dent Projection Advisory Council, an-
nounces the election as a life mem-
ber of that body of H. M. Wilcox,
operating manager Electrical Re-
search Products. In accepting the
election Wilcox expressed his appre-
ciation of the co-operation accorded
his company by the projectionists of
the country in connection with the in-
troduction of sound talking picture
equipment.

Warners Install Booms

Warner Brothers' studio has in-
stalled several Mole-Richardson loca-
tion microphone booms. These are 20
feet long, and when extended the axis
is 10 feet from the ground. The de-
vice is collapsible and may be packed
within a small compass for journeys
away from the studio.

February, 19-11

The INTERNATIONAL PHOTOGRAPHER

Nineteen

European Film Items of Interest

THE following items have been
taken from a report received
from Trade Commissioner George
R. Canty of Paris: According to a
press statement the extraordinary
general meeting of the Establisse-
ments Jacques Haik of France ap-
proved a capital increase from seven
to fifteen million francs. The Haik
studio in Courbevoie, near Paris, has
been reconstructed following a fire
some months ago and shooting is now
under way.

A further merger between firms in
the French industry is reported.
Omega Films, Elite Films and Les
Films Celebres have united under one
cooperative banner. The group is
financed by M. Martinage.

Herr Meydam, a member of the
board of the German Ufa company,
has been appointed film distribution
expert at the Berlin Chamber of Com-
merce and Industry.

The Catholic party of the German
Reichstag has introduced two amend-
ments which if carried must have
serious effects both on production and
exhibition of pictures. The first one
embodies a number of regulations re-
garding censorship of films and post-
ers and also demands decentralization
of censorship. The other amendment

asks for stricter protection of juve-
niles.

Director H. Correll, after long ab-
sence due to illness, has returned to
Berlin and resumed his activities as
head of Ufa production. Herr Hubert
left the Ufa directorate at his own
wish at the end of 1929. Director
Wilhelm Meydam has become a mem-
ber of the Ufa's managing board and
will take charge both of foreign and
home distribution.

The German Institute for Press
Science, in collaboration with the Ber-
lin Association of Theater Critics, ha.s
instituted a practical informatioi:
course for film paper editors and film
critics of the lay and trade press.

It is hoped that this course, which
will comprise both theoretical infor-
mation and practical work, will prove
an effective help for film reporters in
acquiring the necessary experience,
especially in so far as sound films are
concerned.

The Hungarian telephone manufac-
turing company has demonstrated in
Budapest its new sound film appara-
tus. Parts of various sound films
originating from many countries were
shown and excellent reproduction was
attained, it is claimed.

It is hoped this new invention will

offer to small cinemas the possibilty
of going over to sound films. The ap-
paratus is equally well suited for the
recording of sound on film and sound
on disk.

The number of Hungarian cinemas
wired for the reproduction of sound
films is reported to have been 112 as
of November 15 last. Of these 56
are in Budapest, 16 in the Budapest
suburbs and 40 in the provinces.

The Children's Cinema at the
Apollo, Geneva, was inaugurated re-
cently at a private assembly of local
teachers and child welfare workers.
The well known "cineaste," R. A.
Porchet, is responsible for this initia-
tive.

Porchet made an interesting state-
ment on the possibility of national
production of documentary films not
only to serve the cause of the chil-
dren's cinema but to replace the
much criticized advertising lantern
slides and sometimes even the un-
satisfactory comic film for the regular-
representations. M. Porchet's idea
has been favorably discussed by both
trade and public.

Sound for Shanghai's Strand

The Strand, in Shanghai, a 1200
seat house, is the twenty-first Chinese
house to install Western Electric-
sound. The theatre expects to draw
large patronage from the hotels and
apartment houses that surround the
area.

"The only institution of its kind in the world

The members of Local 659 I. A. T. S. E„ and M. P. M. O. of United States and Canada

individually unqualifiedly endorse

MAX FACTOR'S MAKE-UP

MAX FACTOR'S MAKE-UP STUDIO

HOLLYWOOD, CALIFORNIA

Twenty

The INTERNATIONAL PHOTOGRAPHER

February, 1931

0 COUNTRY of the

Western World has
a more vivid, dra-
matic or picturesque
background than
Haiti. Haiti, with
penciled verdure
fringing dominant
heights and feet
laved by waters of
deepest lazuli, is in-
deed a jewel of trop-
ical splendor.
When Columbus sighted the island he called
it "Hispaniola" (New Spain), but it was the
Carib Indian, in conauest, who named it
"Haiti" (Beautiful Mountain). The Frenchman,
too, left his heritage in a characteristic sem-
blance redolent of long ago Napoleonic days.
In Port au Prince, St. Marc, Petite Riviere
de l'Artibonite — cities steeped in French tra-
dition, one yet sees chateaux, colonial French
in their architectural settings, nestling in the
foothills only a short cry from the ever-en-
croaching jungle growth.

One chateau I recall with pleasure is the
"Splendid" in Port au Prince, where I found
comfort, courtesy and even luxury extended to
me in a grandiose manner by its charming
hostess. It was indeed a rendezvous for the
elite of the Haitian capital.

Haitian Creole, the language of the island,

Haitian Glories Vivi

is based on French and enriched with Spanish
and African, yet solely West Indian. It is
musical and warm in its intonation, and the
Creole Black, who has a habit of repeating the
same thing over and over, rolls it off his tongue
with an elegance of movement.

In this Polynesian atmosphere one finds
arresting contrasts to the customs and speed
of our dynamic age — it is such contrasts that
made so interesting my adventure to this color-
ful island as I arrived a la twentieth century
Air Line Limited.

Eye-Filling Panorama

My first impression of Haiti was an eye-
filling panoramic wave of dark skinned hu-
manity on its way — passing of semi-nude
bronze figures, straight as royal palms, sym-
metrically proportioned, and as graceful as
Celeste; here is perfect fusing of movements —
free hips under humble raiment; these proud
Haitians of weird African strain possess the
finest physique of any race I have yet to see,
resulting, no doubt, from the custom of carry-

By ESS

Upper row (left to righ
Santo Domingo, which h
topher Columbus. Two
that guard the portal of
dral of Santo Domingo
Haiti, the white toweri
sight to greet the eye j
the Cathedral inclosure,
Christ — Port au Prince,
Haiti, "as I arrive a la
Lower row — In this Ch
stricken with paralysis;
Souci Palace at Milot.
Sans Soiici Palace, whe;
Christophe. The porta,
give entrance to a vanqi
of the Palace of Sans 5
have covered the walls
and the natives have
Faith crowning the elab
Christopher Columbus h
Center (under circle) — i
design, pedestaled wit]
Columbus in the (

February, 1931

The INTERNATIONAL PHOTOGRAPHER

Twenty-one

Portrayed by Parichy

RICHY

or view of Cathedral of
aidiful shrine of Chris-
it majestic bronze lions
ms Shrine in the Cathe-
•al at Port au Prince,

of which are the first
rd. Bronze crucifix in

suppliants argue with
view of Port au Prince,
century Air Line Ltd."
monad Christophe was
I is at the foot of Sans
of the proud legendary
the famous black ruler,
Souci Palace, that now
f. The grand stairways
re the ravages of Time

with moss and lichen,
:oot paths." Symbol of
le and bronze shrine of
dral of Santo Domingo,
'•onze casket of intricate
holds the remains of
f Sayito Domingo.

ing heavy weights upon the head — '"every-
thing goes to the head" from a spray of nar-
cissus to a silversmith's anvil, balanced with
remarkable vigor and skill.

I have seen flocks of these women burden-
bearers of all sizes and ages bringing in their
heavily laden panniers over mountain and
valley, traveling great distances of forty to
fifty miles on foot to gain the city market
price of an extra half gourde (10 cents Ameri-
can).

Every day is market day in this land where
Nature provides an abundance of luscious
fruits and succulent greens, and these native
women are the world's champion barterers.
They display their wares along the streets,
curbs, and at all the rural crossroads, the lat-
ter being called "Petite Marches." At one of
the crossroads on the way to St. Marc, I
noticed some huge iron kettles upended which
I learned had been there over one hundred
years.

Tradition has it that when the slaves rose
against the French they destroyed all the

French construction, and after demolishing
all the sugar mills took to the crossroads the
kettles used for boiling syrup, leaving them
upended as a mute symbol of their freedom
from slavery.

Home of Christophe

Two hundred miles to the north of Port au
Prince lies the vast domain of that once famous
self-crowned black ruler, Christophe, and atop
a 3000-foot mountain peak twenty miles from
the city of Cape Haitian looms his gigantic-
fortress, with its grim, forbidding battlements,
the Citadelle Spectacular.

Colossal are the bleak walls that have weath-
ered a century and now stand silent spectres
to commemorate a commanding personality.
Everywhere are the weird, immense, melan-
choly ruins, mocking his physical power; bru-
tally stand guard forever the cannon of the old
regime, in dark mysterious corridors peering
through embrasures and frowning upon an
invisible foe. Here were gathered the bravest
of Haiti's warriors — here were born intrigue
and tragedy — here Life pulsed at its fullest —
here the Great Christophe planned and schemed
and here the Finger of Fate unrobed him of
his mantle of dreams.

In an open court on the center terrace stands
a bleak unadorned tomb of this man who rose
from slavery to crown and sceptre — a tomb
companioned by silent loneliness, as only the

Tic* nty-two

The INTERNATIONAL PHOTOGRAPHER

February, 1931

daring' ascend the perilous trail of
eight miles on horseback, to view this
stronghold, the eighth wonder of the
world.

At the foot of Bonnet a l'Eveque,
where stands the Citadel, are the
ruins of the once majestic Palace of
Sans Souci, where Christophe reigned
with a fanfare of farcical court life
and created around himself a mock
nobility.

The ravages of Time have covered
the walls and stairways with moss
and lichen. The tropical life has
pushed its way into the halls and
apartments, once so luxuriantly ap-
pointed in a grandeur of colonial do-
minion. Now the proud legendary
Sans Souci knows only the inhabitants
of the tiny village of Milot, who pad
barefood up her grand stairways and
across her thresholds and who fur-
row paths to pasture their goats in
her courtyards.

Two Voodoo Drums

Before I left Haiti I was fortunate
enough to come into possession of
two Voodoo ceremonial drums which
I prize more than anything I have
collected in my travels about the
world. They are very old, I under-
stand, dating back to the Caco upris-
ing; they are hand-hewn from tree
trunks, weighing from twenty-five to
thirty pounds each; the heads of goat
skin are stretched over and held taut
by round wooden pegs and hooplike
clamps tightened with lacings.

These drums are beaten alternately
with the fingers and heel of hand.
They are before me now, my hands
idly tapping — vainly trying to swing
into the rhythm produced by the
hands of Voodoo. The beat is ever
running through my mind, flooding
me with its timbre like an anesthetic
that wafts me back to a memorable
night.

It is Saturday night; the moon is
low, and off in the hills the dusk fires
are showing. Presently from afar
comes the voice of the Voodoo drums,
calling; the sound is caught and re-
echoed through all the hills — multi-
plied by the exotic fragrance of the
night it becomes an insistent, irresist-
ible call — whoever is the silent wit-

ness to the Voodoo Congo dance long
remembers.

Here is an assemblage of twoscore
or more in a compound, grouped
around the drums; the ritual begins
with all its signs and accoutrements.
Christian feeling is stifled by an un-
conscious Gordian-knot of African
paganism amalgamating in weird
Voodoo syncopation; the blood of the
Congo throbs insatiably for mad
hypnotic expression of emotions.

How well they respond to the tom-
tcmming of the native drums — how-
wall they know its cadence — tom-tom-
t-o-m-ZOOM — tom-tom-t-o-m-ZOOM
— tom-tom-t-o-m-ZOOM! — slowly at
first, in lukewarm rhythm — then as
the drummers zoom it up in quickened
momentum there is response in swift
oscillating of hips and muscular un-
Julation of arms and body.

These dancers seem possessed by
divine frenzy in this primeval "Danve
of Life." Here is a tremendous
drama, enacted; here is a cinema re-
flection; a retake of early B.C. cen-
turies of gyrations performed before
the Pharaohs' sacred Apis; of Salome
with her dance of Quest; of the sac-
rificial ceremonies of Guinea; all
these race memories die hard.

And while Haitian Blacks embrace
the Crucifix the pendulum of their
mind swings back to the ancient creed,
with all its gadgets of "ouanga"
charms, thunderstones, gourd rattles
and the ever incessant beating, beat-
ing of ceremonial drums.

Australia Theaters Slow

in Ordering 1931 Films

ACCORDING to a recent report
from Assistant Trade Commis-
sioner H. P. Van Blarcom in
Sydney, Australia, exhibitors are not
buying ahead. The selling period for
1931 pictures should ordinarily have
occurred in the last three months of
1930, but at the year's close very few
contracts had been signed for next
year's pictures.

Uncertain business conditions were
given as the principal reason why ex-
hibitors hesitated to commit them-
selves, but further hesitancy may be

Esselle Parichy with two of the voo-
doo drttms brought back from Haiti

attributed to the changes and rumored
changes in the major circuits, while
poor box office returns in 1930, sup-
posedly because of poor pictures, is
an added factor.

Distributors are not pressing their
pictures on exhibitors because they
realize the present depression is hav-
ing its effect on attendance and un-
doubtedly low prices are being offered
by the exhibitors because of this.

With one large American company
controlling a major circuit and an-
other rather closely allied to the other
major loop outlets for some pictures
are assured, but suburban exhibitors
will probably hold off as long as pos-
sible at least until some definite indi-
cation in regard to the future becomes
apparent.

DU C^ome FIIAf SYSTEM

6723 SantalvionicaBlvd.

Hollywood, Calif?

Red

Ortho

Front

Negat

lve

Red _.

0"THO''

PAhcnao-
MATIC

SPECIALISTS IN FILM FOR COLOR
AND PROCESS PHOTOGRAPHY

Producers Make Their Own Color Selec-
tion Negatives with Their Own Cameras

SOLD BY SMITH & ALLER, HOLLYWOOD, CALIF.
DU PONT-PATHE FILM MFG. CO., NEW YORK, N. Y.

/•'< binary, 1931

The INTERNATIONAL PHOTOGRAPHER

Twenty-three

Chaplin 9s ''City Lights ' ' Premier

Opens New Los Angeles Theatre

CHARLES CHAPLIN'S "City
Lights" was given its premier
performance in the new Los
Angeles Theater, on Broadway be-
tween Sixth and Seventh streets, on
the evening of January 30.

Writing in advance of the event it
would seem under the striking cir-
cumstances it is hardly likely any
preceding premier will match it in
all-around significance or importance.

In the first place it is to be opened
in a house declared to be the last
word in comfort and even luxury.
Then again it is a Chaplin picture,
and the first in two years. Most im-
portant, however, is the fact that in
an industry definitely committed to
"talking pictures," in spite of the
feeble utterances of an occasional
straggling protestant, this produc-
tion will contain no dialogue, although
there will be orchestral accompani-
ment in the composition of which
Chaplin has had a hand.

The production will be reviewed in
this magazine in the March number.
Also there may be recorded some im-
pressions of the occasion entirely
apart from the picture itself.

Following the performance in Los
Angeles Chaplin was slated to start
for New York to be present at the
opening in the George M. Cohan
Theatre there February 6; that is, if
in the meantime he did not suddenly
decide to start around the world from
the Pacific side, making Japan his
first stop. The period to be devoted
by the comedian to his vacation trip
abroad is on the lap of the gods —
but he has so far committed himself
as to say on his return he will make
another picture, also a silent one.

Carlyle Robinson, who has been
associated with Chaplin for a dozen
years and who has made other foreign
trips with him, will go along.

Dr. MacKenzie Chairman of

Western Section Engineers

THE Pacific Coast section of the
Society of Motion Picture Engi-
neers held a dinner session at
Marchetti's on the evening of Janu-
ary 22 and elected Dr. Donald Mac-
Kenzie of Electrical Research Prod-
ucts as chairman, Emery Huse of
Eastman Kodak as secretary, and
L. E. Clark of Pathe as treasurer.
H. C. Silent of Erpi was made a
member of the board of managers.
The others on the board are George
Mitchell, who is holding over, and
Pete Mole, who, as retiring chairman
of the section, automatically falls into
the place.

Leigh Griffith was named for the
membership committee and Gerald
Rackett on that of papers and pro-
grams. Pete Mole was delegated
chairman of the section's convention
committee to work in co-operation
with the committee of the society in
New York. The joint committee will
arrange matters for the semi-annual

session of the society to be held in
Hollywood this coming spring. Karl
Dreyer was named as chairman of
the committee on nublic relations.

There was a discussion as to the
type of papers to be written by the
local section at coming meetings. It
is likely the 90 members, about evenly
divided between active and associate,
will hold sessions at least once a
month during the coming season.

"Shadoivs of the Dead"

Being Made as a Silent

According to a recent report by
Assistant Trade Commissioner Wilson
C. Flake of Calcutta, India, the United
Pictures Corporation (India) Ltd. has
just opened its new studio at Luck-
now and has already begun to produce
silent pictures, the first of which will
be called "The Shadows of the Dead."

Up to the present time the film in-
dustry in India has been largely con-
fined to the Provinces of Bombay and
Bengal; but the new studio at Luck-
now, which is in the United Provinces,
is situated 900 miles from Bombay
and 600 miles from Calcutta.

IF you are interested in

Sound-on-Film Recording

Send for the

Audio -Camex
ustrated Catalogue

It's a worthwhile
story it tells

'iflAMEPA Exchange

^1^/ CABLE HOCAMEX15II CAHUENGA B LVD -PHONE HO ?43I

Twenty-four

The INTERNATIONAL PHOTOGRAPHER

Feb) nary, 1931

Looking In on Just a Few New Ones

Cimarron

Eddie Cronjager, Cameraman

IF "CIMARRON" is a long story-
its studio preview ran approxi-
mately two hours — the picture will
go a long distance. It contains many
elements of large popular appeal. It
is fundamentally a document of hu-
man rights — of equal rights to the
red man among others. A Jewish
peddler is one of the fine characters
of the tale, carrying through the two-
score years traversed by the picture.
A negro boy accompanies the family
from Wichita to Osage and meets his
death in trying to rescue the child
Cimarron when the latter is caught
between the battling townsmen and
the bank bandits.

So far it is a showman's picture.
Add to this that it is a tale of an
American family, of father and
mother and child, which in 1889 en-
ters a pioneer town and settles — at
least the mother does. And we leave
the mother in 1929 still settled — and
a member of Congress. All the way
it is above all a family story. And
the stern gunplay will draw to the
box office every available boy in the
land. It is still a showman's picture.

Wesley Ruggles has produced a
spectacle — not merely in the opening
sequences with the land rush, staged
with thrills aplenty on an unprece-
dented scale and covering an area the
scope of which no one camera could
record ; but recurring steadily
throughout the unfolding of the story
come sets of great size, many of them
plainly created for the particular
work in hand. Again it is a show-
man's picture.

By GEORGE BLAISDELL

And best of all flowing through
the dozen reels are human interest
and heart interest of sufficient
strength and of consistency in con-
tinuity of grip to hold very quietly
in their seats — except occasionally in
comedy moments — a hundred odd ten-
minute-egg reviewers, a clan which
prides itself more or less on its im-
pregnability to attack on the human
side. So you see as far as one may
forecast from its fi-ont elevation
"Cimarron" inescapably is a show-
man's picture.

Richard Dix portrays Yancey Cra-
vat, that strange combination of
lawyer-editor and pioneer-adventurer,
of idealist and vigilante, of family
man and wanderer; a most desirable
citizen except for his attacks of
wanderlust, one of these taking him
away from home for five years and
another over twenty. Cravat is a most
likable character.

While Dix by reason of the story
carries the larger honors there is an-
other player who shares these with
him — Irene Dunne as Mrs. Cravat,
Sabra. Especially true is this in
the closing scenes of the picture. Here
is a splendid performance.

George E. Stone is Sol Levy, the
merchant who begins with Osage as
it rises from the plain, entering the
town with a donkey and his stock of
wares and becoming in the years one
of its leading citizens. Parallel with
Levy is Jess Rickey, the stuttering
printer of the Wigwam, interpreted
by Roscoe Ates. These two are prin-
cipals in name and in fact.

Estelle Taylor figures briefly and
competently in the role of Dixie Lee,
against whom many hands are raised.
Dixie's occupation is soft-pedaled to
such an extreme degree that only the
more worldly wise will sense it —
thereby keeping the production with-
in the 100 per cent qualification for
the tenderer ages.

The picture is based on the novel by
Edna Fei'ber, who probably would
plead guilty to having had the screen
in mind when she wrote it. Howard
Estabrook is the writer of the adapta-
tion. Max Ree is the art director —
and a large factor in the production.

Much is going to be heard in the
coming weks of "Cimarron." Follow-
ers of pictures owe it to themselves
to see it in its earlier runs, before
the cutters start the curtailment in
footage that undoubtedly will pre-
cede the showing in the smaller
houses.

R K 0 as maker and Louis Sarecky
as associate producer of "Cimarron"
are entitled to stick feathers in their
respective hats. So, too, these are
entitled to pin bouquets on the di-
rector and the cameraman.

Hatto Tappenbeck stops by the roadside in Galway, Ireland — and who would
not? — to record the appealing face of this little mother in her quaint shawl.

The Criminal Code

Teddy Tetzlaff, Cameraman

WITH "The Criminal Code" Co-
lumbia may walk up front in
any motion picture procession.
This subject directed by Howard
Hawks packs all the power that the
limitations of good entertainment
measurably permit any one picture to
carry. Right here it is made bold to
say if it were any stronger it would
be too much for the comfort of many
who go to see pictures. Certainly it
is rare drama.

Walter Huston is at his best in the
part of the district attorney who later
becomes prison warden over a thous-
and men he had been instrumental in
"sending up." Of course concededly
it is a trite saying to write that Hus-
ton is at his best, but in all truth he
so seems always to be. Possibly the
truth is to be found in the suggestion
that Huston will not take a part he
cannot "see."

If this be a fact, in view of the uni-
formity of good story value in Huston
pictures, it might be a bet for a
harassed producer to seek the actor's
counsel on material under considera-
tion for some floundering brother
player. But all that's another story.

Surely Martin Flavin's play as
adapted with added dialogue by Fred
Niblo Jr. and Seton Miller — and we
repeat as directed by Hawks — is a re-
markable medium for displaying the
dramatic ability of several persons.

While Huston is most of the time
the pivot of the drama that unwinds
behind grim walls he gets most com-
petent aid from Phillip Holmes and
De Witt Jennings and Constance
Cummings and Boris Karloff among-
others.

Young Holmes is cast in a hard part
— that of the youth who with a bottle

t\ bniary, 19.J1

The INTERNATIONAL PHOTOGRAPHER

Twenty-five

strikes harder than lie realizes in the
mistaken belief he is defending a
woman's honor — and kills. For man-
slaughter he goes to prison, and when
the new warden arrives he has spent
six years in the jute mill — a physical
wreck.

Under the physician's suggestion
the warden shifts the boy — takes him
as his driver. There the warden's
daughter meets Graham, and is
thrilled as with growing interest she
follows the progressive restoration in
health and morale of a human being.

It would be a shame to uncover too
much of the story. It is worth seeing
unincumbered by too many tips on its
course or its outcome. There are
scenes in the cell blocks and out in the
great square yard where the convicts
mull and "yam" or razz everybody in
general when the cause seems suffi-
cient. There are first-hand examples
of the manner in which the under-
ground word travels through the big
institution.

There are, too, examples of third-
degree methods on the part of a
brutal captain of the guard — and we
see Jennings at his histrionic meanest,
and which no one worldly wise will
construe to be overdrawn as to por-
trayal of fact.

The turning point of the story
comes when the captain meets his
death at the hands of a convict who
for years has waited his chance to
keep his self-imposed appointment
with the one man he blames for all
his later troubles. Writing as one
still under the illusion, and the illu-
sion is one that lingers, there is bound
to be wonderment as to the attitude
of some of the small-minded "ladv
cancers" male as well as female in
small towns and big as to what fuss
to start over this shocking affront to
"constituted authority"!

Getting away from the unpleasant
subject of these boy-bobbed antiqui-
ties "The Criminal Code" is, we re-
iterate, rare drama — a tale of cold-
blooded men who sometimes think ex-
ceedingly straight; of affections and
sacrifices among those who flout the
law; of deep love between a father
and daughter, and of a strange if
entirely understandable romance be-
tween a boy and a girl.

The Blue Ansel
Gunther Rittau, Cameraman

ABOVE all else, "The Blue An-
gel," a remarkable Ufa produc-
tion which Paramount will dis-
tribute in this country, is notable for
the characterization by its star, Emil
•Tannings. That he is the star in fact
as well as in name, in spite of the
presence at the head of the cast of
Marlene Dietrich, there probably will
be general agreement.

Jannings' portrayal of the austere
doctor professor who falls in love
with a dancer and goes to the dogs
will rank with the best of his pre-
vious work if it does not surpass it —
and that is saying enough.

For the 105 minutes the picture is
on the screen it is dominated by the
burly German. Had his place been
filled by one of lesser power the lead-
ership easily would have fallen to
Dietrich, who in this picture more

fully reveals her versatility— and
geniality — than was permissible in
the chillingly molded interpretation
she was caused to bestow upon her
part in "Morocco."

We now see her as a more human,
more frankly seductive and fascinat-
ing representative of femininity, one
who while making no show or parade
of adherence to conventions never-
theless walks a straight path of de-
votion to one man, one much older
than herself, both before and after
marriage. She does at least until the
sudden aboutface as the mental facul-
ties of the husband show evidences of
breaking, when she accepts the ardent
attentions of the actor whom she cas-
ually meets on a stairway.

The tale is a tragedy. That such is
the fact is cleverly concealed through
the major part of the action. The grim
denouement is all the more of a shock
by reason of the element of surprise
experienced by the beholder. The plot
develops slowly but steadily, one stone
on another. It is only when viewed
retrospectively one realizes how re-
morselessly.

The subject is an Erich Pommel'
production. It was directed by Joseph
Von Sternberg in Germany. It is
based on a novel by Heinrich Mann
and was adapted by Carl Zuckmayer,
Karl Zollmoeller and Robert Lieb-
mann. The finished result as we see
it on the screen is far and away above
the ordinary, and its attainment was
aided and abetted by a thoroughly
competent production staff.

If it be the intention of the distrib-
utors to release the picture in the
same footage as was shown at a pre-
view in Los Angeles it would add to
the enjoyment of the spectator if it
were known beforehand the running
time would be an hour and three-

quarters. Without advance informa-
tion the one out front is misled into
sensing the approach of the end sev-
eral times during the final half hour,
as there are situations which forecast
the curtain as the scene fades only to
be followed by a fade-in for a contin-
uation.

One of these sequences is the con-
clusion of the wedding and its suc-
ceeding merrymaking, a spot for an
ideal happy ending. And there are
others. With the running time known
in advance there will be no disposi-
tion to complain about length. The
story holds all the way.

One of the singular phases of "The
Blue Angel" is that it demonstrates
the complete possibility of designing
a two-language picture that may be
viewed with understanding and inter-
est by those speaking either of the
pair. Certainly in the present in-
stance interest in the production is
not appreciably diminished because of
not understanding German.

In "The Blue Angel" English is
spoken by two persons, the professor
and the dancer-singer. The first is
instructor of a class in English and
the woman speaks English but does
not understand German. All others in
the cast of this Old World story speak
German.

If it be a story of the Old World
it also is of a world new to the un-
traveled American, and its appeal
will be all the more marked on that
account.

The Lash

■/. 0. Taylor, Cameraman

MEXICO in the past frequently
has complained about the man-
ner in which its nationals and
its customs have been painted by
United States picture makers for re-

Monroe Bennett conveys the virus of the tired bug into willing or even anxious
veins when he teases us with this alluring shot of the harbor of Nice, France

Twenty-six

The INTERNATIONAL PHOTOGRAPHER

February, 19S1

production on the screens of the
world. Beyond question in many in-
stances the grievances were real, and
as such tacitly have been conceded by
governmental and production repre-
sentatives in this country.

Mexicans official and private will
lay no such charge against "The
Lash," First National's contribution
to the cause of amity between the
countries that face each other across
the Rio Grande. For in this stirring
story of the late forties it is the
Americanos who supply the villainy
and the Californians, meaning the
residents of Spanish descent, who are
the victims of it.

Singularly enough, the American of
today who sits under the screen tell-
ing this story of spoliation by his fel-
lows of an earlier day will probably
practically without exception extend
his sympathies to the Californians.

The tale is an adaptation by Brad-
ley King of the novel "Adios" by
Lanier and Virginia Stivers Bart-
lett. Regardless of the fidelity with
which the scenarist has followed the
original she has given us a picture
that is charming in its entirety.
Frank Lloyd with his customary skill
has translated it into a, subject of
dramatic and pictorial quality.

As to the latter factor Cameraman
Taylor bulks big, for he has contrib-
uted his full share to the final screen
result. The picture was three-quar-
ters down at Warners' Hollywood
house before it dawned on the review-
er he was sitting in on a subject that
had been photographed on wide film,
which inquiry disclosed to be of the
♦35 mm. dimension.

One of the best demonstrations of
the value of the wide field was in the
running shots, the pursuit of the hero
by a posse or again in the several
action exteriors in which the screen
was crossed by stampeding cattle or
the rapid movement of large troops
of horsemen. If the wide film has
value in interiors its charm and at-
tractiveness, its realism, is multiplied
in the case of outdoors stuff. The
stampede of the cattle will linger in
the memory.

Richard Barthelmess portrays the
Californian of Spanish descent who
returns to his uncle's homestead from
his schooling in Mexico to find his
native land in the possession of
Americans, not all of them scrupu-
lous and one of them not stopping at
murder.

Fred Kohler carries the role of the
American land commissioner who
kills the head of the Spanish family
when his burglarious quest of a home
for a deed is interrupted. Robert Ed-
eson is the landowner. Both of these
men in their widely separated charac-
ters give us of their best, as in fact
do the entire cast — Mary Astor and
Marion Nixon as the girls who re-
spectively fall in love with the young'
men of the story, the first with the
hero and the second with Howard,
played by James Rennie. To the last
named falls the duty of upholding the
credit of the Americans, and credit-
ably he fulfills his charge.

Arthur Stone in the comparatively
minor part of Juan, the aid of the

hero, makes his characterization stand
out. Mathilde Comont and Erville
Alderson also hold the stage effec-
tively if briefly.

"The Lash" is a picture well worth
seeing — especially for those who are
fond of the fast-moving outdoor sub-
ject. And for those who prefer the
romantic or the picturesque showing
of large groups of festive persons
they will here find their fill.

Scandal Sheet

David Abel, Cameraman

OF NEWSPAPER stories, like
books, there is no end, but Par-
amount in "Scandal Sheet," a
tale by Vincent Lawrence and Max
Marcin, has produced one worthy of
the name. Its underlying theme is a
managing editor whose guiding phi-
losophy is to print the news, let the
blow fall where it may.

For this brutal viewpoint of what
constitutes newspaper ethics there is
abundant classical precedent. Just
one instance may suffice to prove the
authors were within the realm of fact
when they laid their foundation. Old
New Yorkers may recall the remark
attributed to Charles A. Dana that
"Whatever God Almighty permits to
happen is good enough for me to print
in the New York Sun."

John Cromwell in his direction has
created the atmosphere of the inside
of a newspaper office. George Ban-
croft as the managing editor has con-
tributed to the enhancement of that
atmosphere. Lawrence and Marcin
have put into his mouth words that a
managing editor of a large sheet
might use.

The scene in which the chief
after having held up the story un-
covering the skeleton in his own
closet returns to his desk and with
his principal subordinates listening in
dictates a new lead describing how he
had shot the other man carries a
rare thrill. And the paragraph dic-
tated is a model of terse and descrip-
tive writing,

Kay Francis plays the wife who
falls in love with the bank president,
portrayed by Clive Brook. There is
nothing impetuous in the proceeding.
The wife has stifled her abomination
of her husband's code out of regard
for the effection she knows he bears
her and of realization of the size of
the disaster that will follow to him if
she deserts him. The turning point
comes when the editor publishes the
precarious position of the bank due to
misjudgment in management and the
loss to innocent depositors that will
follow the exposure.

The production is one that through-
out its entire length shows abundant
evidence of care in preparation, of
combined skill and intelligence in
corception and treatment. To those
opinionated persons who insist in sea-
son and out that the screen requires
no aid from the stage "Scandal Sheet"
should give pause — that is, unless as
may be possible they are closed to
contrary opinion. It just happens
that a majority if not all of those
who have to do with the creation of
the subject are of the stage.

On the physical side the produc-
tion is in keeping with the story. The
cast is excellent, besides those named
Regis Toomev as Regan the reporter
and Gilbert Emery as the publisher
also doing noteworthy work. There is
another player, unidentified, unvocal,
who at times fills the eye and grips
the attention — the editor's secretary.

The conclusion of the picture is de-
signed to lighten the tension of a
grim story. The editor is shown in
Sing Sing, where following a long
period of utter dejection his old-time
spirit and enthusiasm return when
the warden delegates him to take
charge of the prison publication. The
sequence will be strongly reminiscent
to many of that noted city editor of a
New York evening newspaper who
went to Sing Sing because of a slay-
ing but never was forgotten by his
former associates.

But that title — it is cheap, false.
It is beneath the dignity of the story
of which it is placed in front. As well
tag with an opprobrious epithet a
man who always tells the truth — that
is, measurably so.

The Royal Family of Broadway

George Folsey, Cameraman

THE old year had yet another
day to travel when Paramount
showed "The Royal Family of
Broadway" at its studio theatre. It is
worth walking a mile to see. This pro-
duction of the New York studio is
one of the best examples of the blend-
ing of stage and screen, for through-
out its strenuous progress, amusing
at times and deeply absorbing and
moving at others, it seems more in the
realm of the former than in that of
the latter.

In the first place, on the physical
production side, the tale practically
is entirely indoors. There are a
couple, possibly three, flashes of the
outdoors, and very brief flashes. But
the screen brings the rapid transition
from one part of the familv residence
to another, and again a couple of
times outside, once to the cabin of a
steamer on the high seas and again
to the theatre.

The tale is of a mother, daughter
and granddaughter, the first two on
the stage and the latter pi'eparing.
Also there is a son of this stage fam-
ily who is as perfect a nut perfected
by a screen experience in Hollywood
as the town could boast. Fredric
March plays this character who
would be a nut anywhere even with-
out the finishing touches of contact
with Hollywood.

To Ina Claire as the daughter go
the honors of the story and its op-
portunities. But there are moments
when as quietly and yet as surely the
mantle falls from the shoulders of
this fine actress and across those of
one of the idols of the stage of a gen-
eration ago.

There is a scene that particularly
will stand out as one of the most
charming sequences of the picture.
That is when the actress who was
leading woman for Charles Frohman
in the early nineties tries to convince
her successful daughter that to think
of leaving the stage and retiring to

Bebruary, 19-11

The INTERNATIONAL PHOTOGRAPHER

Twenty-seven

private life is an impossibility. And
for the final clincher of the argument
she is conducting- she paints the reac-
tions of a great actress as she enters
the theatre, makes her preparations
for her first entrance, and finally
faces a tumultuous house.

How Daniel Frohman in his serene
and youthful journeying into these
later years of a useful and an hon-
ored life must smile — how a host of
other old-timers must squirm — as he
and they note the billing announcing
the cast of this picture: " * * * with
Mary Brian and Henrietta Crosman."

A remarkable team is that of Ina
Claire and Henrietta Crosman, one
the screen equal of which is not re-
called offhand. The work of Mary
Brian as the granddaughter is de-
serving of high praise. It was un-
questionably a tough spot into which
to pitchfork any young screen player.

Frank Conroy as the business man
lover of the mother gave a fine per-
formance, bringing to us a type of
mankind that if any one could per-
form the miracle of inducing a suc-
cessful actress to retire from the
stage for a life of quiet and privacy it
would be of that sort. Charles Star-
rett is the young man who for a while
succeeds in keeping the granddaugh-
ter from the stage — and loses out
eventually.

One of the highlights in a sterling
cast is Arnold Korff as the manager
of grandmother and mother and who
never forsakes the idea eventually he
will entice the daughter to follow the
family trail to the stage — and wins.

Those who especially are attracted
by keen, incisive dialogue, with lines
sparkling and searching in their lit-
erary quality, will enjoy this work of
Edna Ferber and George S. Kaufman.
George Cukor and Cyril Gardner di-
rect the picture, with credit to them-
selves and to the enjoyment of those
fortunate persons who see it.

Fighting Caravans

Lee Garmes, Cameraman

IN SPITE of Paramount's earnest
and palpable efforts to build an-
other "Covered Wagon," even to
introducing two players identical in
person and character names, there is
no doubt it has stubbed its toe.

"Fighting Caravans" has magni-
tude as a production, yes. There are
formidable spectacles, finely photo-
graphed, and many striking shots of
wild and picturesque country — wagon
trains bumping over rugged areas
topped with deep mud or snow, the
latter if anything worse; fording
rivers; pulling wagons uphill or
when racing downhill trying to keep
the wagons from overrunning the
horses; and an Indian fight in which
a wagon load of kerosene is set afire
in the middle of a stream to prevent
raiding redmen from crossing the
river and wiping out the party. The
latter incident carried a genuine
thrill.

The Bill Jackson of Ernest Tor-
rence and Jim Bridger of Tully Mar-
shall as we saw them in the "Covered
Wagon" are repeated in the newer
picture, the first written by Emer-

son Hough and the present one by
Zane Grey. The two old scouts come
very near being easily the actual
stars of the picture and certainly do
monopolize a large share of atten-
tion and interest.

The bone drys sitting on censor-
ship boards probably will roll their
eyes and make sundry other demon-
strations of horror after they see the
drinking bouts of these two lovable
characters. Since playing in the "Cov-
ered Wagon" Torrence has developed,
at least for the present occasion, a
broad Scotch brogue which it is a
delight to hear.

Very likely it should be said that
he has not developed it, but rather
that it seems more like bringing again
into action a language of younger
days. Certainly it never was acquired
for any one picture.

The romance falls to Gary Cooper,
the lead of the picture, and Lilly Da-
mita. It is the weak point of the
story. Somehow the spectator has a
feeling the romance probably will
work out all right, but without man-
ifesting any particular concern
whether it does or not. There is more
fun in following Torrence and Mar-
shall.

Fred Kohler is the bad man of the
show in the character of Lee Mur-
dock. He turns the wagon train over
to the Indians, or comes very near
doing that. Eugene Pallette is pres-
ent in a comedy character on the lines
of which no great amount of thought
seems to have been expended. Roy
Stewart is submerged in a quiet role
as the trainmaster. May Boley in
charge of eight chorus girls on the
way to Sacramento provides more or
less amusement.

Otto Brower and David Burton di-
rected the picture. Their work has
been well done and under exceedingly
difficult circumstances. Edward E.
Paramore, Jr., Keene Thompson and
Agnes Brand Leahy are credited with
the screen play.

The Royal Bed

Lee Tover, Cameraman

THERE is some old-fashioned
melodramatic portrayal in "The
Royal Be d," which Lowell
Sherman has directed for RKO stu-
dios. The particular exemplar is
Robert Warwick, characterizing a
forceful premier of a mythical king-
dom. Nance O'Neil, who plays the
queen, is perfectly frigid and ex-
ceedingly domineering in her inter-
pretation.

Possibly after all there was method
in the director's planning of these
two characterizations; that the en-
tirely human and sympathetic por-
trayals of himself as king and of
Mary Astor as the princess should
stand out in striking contrast.

Certainly in the earlier stages of
the production, in those periods where
the queen and the premier create the
impression they are running the coun-
try as well as the show, interest in
the performance by the spectator
lags. In the last half, wherein the
king and his daughter threaten to
come into their own, surely the cus-

tomer begins to take interest in the
proceedings, with the result that at
the conclusion he is likely to expe-
rience a feeling that he has seen a
pretty good show after all.

The theme of the tale is the even-
tual clash between a democratic king
who when his daughter's happiness is
in the balance between her own choice
of a husband and that of her auto-
cratic mother declares himself and
orders matters according to the liking
of the princess.

Then there is a revolution mixed in
with the political intrigue, and that
provides occasions for mobs and ma-
chine guns and more or less damage
to a swell palace. Right here is a
good place to allude to the art direc-
tion of Max Ree, who has provided
some stunning sets. These constitute
one of the major factors of the pic-
ture and will duly impress average
picture house clients accustomed as
these may be to elaborate settings.

The story is not all of royalty and
costumes and things of that sort. The
king plays checkers with one of his
minor palace bowwows, to the hu-
miliation and despair of the queen.
The king does other things that make
for entertainment. To sum up Sher-
man is very much in the limelight,
which directors are very likely to be
when they are playing in their own
pictures, but in this instance it may
be said successfully so. He con-
tributes vastly to the entertainment.

The love scenes turn on Mary
Astor; most capably and charmingly
does she portray the princess rebell-
ing against the auction block. Gilbert
Emery is the checker-playing Phipps,
Anthony Bushell the successful com-
moner lover and Hugh Trevor the
unsuccessful princely suitor selected
by the politicians.

The story, by the way, is from the
play of the same name by Robert E.
Sherwood, adapted by J. Walter
Ruben.

Academy Prints Glossary

For Use of Technical Men

THE introduction of sound record-
ing and projection into the mo-
tion picture industry brought
along highly specialized terms related
to electrical and radio engineering,
acoustics and other fields. To make
possible a general understanding of
the correct usage of this practically
new vocabulary a compilation of
technical words and phrases in their
specific application to motion pictures
seemed desirable and necessary.

The result is "A Selected Glossary
for the Motion Picture Technician"
issued and copyrighted b" the Acad-
emy of Morion Picture Arts and
Sciences, Hollywood, to serve as a use-
ful hanibook for the studio and thea-
tre worker.

This attempt at standardization
was undertaken to familiarize studio
workers with the technical terms em-
ployed in their own work and in other
departments with which they come in
contact as an asset toward increased
efficiency all along the line. The price
of the handbook is 25 cents.

Twenty-eight

The INTERNATIONAL PHOTOGRAPHER

February, 1931

Eastman Plates Create Standards

Hyperpress and Wratten Hypersensitive Made for

Stillmen Who in Spite of Conditions Must

Bring- Back a Real Picture

IMPROVEMENTS in sensitive
photographic materials have come

fast in recent years and they have
been of great importance, but it is
believed the announcement of the two
new plates, Eastman hyper-press
(orthochromatic) and Wratten hyper-
sensitive panchromatic, marks the
establishment of new standards in
sensitive materials.

The Eastman hyper-press is an ex-
tremely fast plate for use under con-
ditions which demand the fastest
material it is possible to obtain. Its
great speed fits it to the need of the
motion picture still man or press
photographer who, regardless of light
conditions, must get a picture that
still can be used.

But it is equally suitable for the
commercial photographer who is con-
fronted with emergency work — the job
which can't wait — the scene of an
accident which must be photographed,
not today, but now. For general
speed work it establishes a new
standard.

Much of the work of both the press
and commercial photographer must be
made with artificial illumination.
And since all artificial light contains
a lai'ge proportion of red it is neces-
sary to make use of panchromatic
material to secure extreme speed
when such sources of illumination
are used.

Panchromatic materials are of fair-
ly recent origin. The first commer-
cial panchromatic plate was the
Wratten panchromatic, placed on the
market in London in 1906. Six years
later this plate was made in Roch-
ester, and since that time the use of
panchromatic materials has become
so general that commercial photog-
raphy has been revolutionized.

Speed in Daylight

Now comes the announcement of
the Wratten hypersensitive panchro-
matic plate. It is a radically new
product characterized by extreme
speed and by great red and green
sensitiveness.

On daylight exposures this plate
has great sneed. It is as fast as those
plates in which no attemnt is made to
obtain color sensitiveness.

When artificial light is used the
great sensitiveness of this plate to
red materially increases its speed.
So when exposures must be made by
anv kind of artificial light the best
possible negative will be secured with
minimum exposure on the Wratten
h-->ersensitive.

This combination of speed and
color sensitiveness specially fits thi.3
plate to press and other types of
photography where flashlight and
other forms of artificial illumination
are necessary.

MOVIOLA

Film viewing and sound reproducing ma-
chines for use with:

Separate picture film and sound film,
composite film and sound on disc record.
For editing 35 mm. film, 16 mm. film and
v/ide film.

Write for Circulars Describing the
Different Models

MOVIOLA COMPANY

1451 Gordon Street
Hollywood, California

It can be used for the so-called
"night" photography and, with large
aperture lenses, instantaneous ex-
posures may be made at night in the
streets or in well lighted theatres.
With high speed lenses and small
cameras it becomes possible to make
phr,+nn-rf)r,hs at "-^blic gatherings,
such as banquets, without the use of
special lighting.

It requires no great stretch of
imagination to see what possibilities
such a plate offers to the press
photographer. His paper wants pic-
tures, not excuses, and the Wratten
hypersensitive panchromatic enables
him to deliver the goods. There are
many other uses for these two fast
plates.

"Reaches Top Speed"

An article in the current issue of
Editor and Publisher, discussing
recent inventions and improvements
in materials which have permitted
news photographers to secure better
pictures, as well as many that have
hitherto been considered impossible,
has the following to say:

"The Eastman Kodak Company has
brought out a new supersensitized
plate, which in the opinion of some
picture service executives has 'reached
the top in speed.' For many years
past photo services have been using
plates imported from abroad for high
speed work because of the difficulty
of obtaining domestic plates sensi-
( Continued on Page 37)

Advisory Committee Named
By 659 to Devise Help in

Unemployment Situation

THE executive board of Inter-
national Photographers, Local
659, has named a special com-
mittee of fifteen, of which Hal Mohr
is chairman, to work out plans to
secure for members of the organiza-
tion every possible assistance in the
alleviation of unusual conditions re-
sulting from the unemployment situ-
ation and also to discuss and advise
upon any other matters which may
be presented to it by the board.

Asked by the board to make the
selection the special committee has
named John Boyle to accompany
Vice-President Roy H. Klaffki and
Business Representative Howard E.
Hurd to the east coast for conferences
with the presidents of the five Inter-
national organizations represented in
the studios.

Later the delegation of three will
confer on pending matters with the
International-Producers committee in
New York.

The special committee of members
is composed of the following:
John Boyle Arthur Miller

Dan Clark Victor Milner

Arthur Edeson Hal Mohr
Alfred Gilks Hal Rosson

Roy Hunt John Seitz

Ray June Karl Struss

Oliver Marsh James Van Trees

Gilbert Warrenton

f^Afc.

@ream oth Stills

c^L'^

*/>

Stepping over the Mediterranean and journeying to the Valley of the Nile we are introduced by Spoor
and Ahbe of Chicago to the oldest form of meal ticket in the world — yet one which fignreth not in the mem-
ory of mam.

C.^'CU.

Qream oth Stills

.^'CU.

Will E. Hudson submits this photograph of the Suiankang Pagoda us a particularly good specimen of Chi-
nese handicraft. It is situated about 160 miles out of Shanghai and was erected early in the seven-
teenth century. Its roof is of tile and the spire of bronze. The structure is a combination of brick, cedar,

teak wood, plaster and cement.

February, 1931

The INTERNATIONAL PHOTOGRAPHER

Twenty-nine

v^[mazeurJ)epartrnentx

JVill Manufacture Wax Records

Hollywood Film Enterprises Photographing and

Processing Pictures Three Ways Both

16 and 35 Millimeters

WHAT is believed to be the most
completely equipped commer-
cial sound and film laboratory
in the world is now in full operation
by Hollywood Film Enterprises in its
plant in Sunset Boulevard. In addi-
tion to its facilities for developing'
and printing 16 and 35 mm. film and
for reducing the wider film to the ama-
teur size the company has installed
a most complete wax recording and
manufacturing plant.

This will permit a customer utiliz-
ing the sound-proof stage for the
making of a subject to produce a
silent picture, a sound on film or
sound on wax or a combination of all
three.

The company will specialize in elec-
trical transcriptions for radio broad-
casts and for voice testing. A special
department has been provided for this
class of work, with elaborate recep-
tion rooms for the accommodation of
patrons.

The sound stage is about 60 by 60
feet, with carpenter's shop adjoining.
The camera and recording or moni-
tor room is placed at the northeast
corner of the stage, which is covered
by ten windows placed in a quarter
circle. Ample sound-proofing mate-

rial is employed between the two
rooms to shut out all noise one froni
the other.

Program of 16 mm. Sound

It is the intention of the company
to produce a program of 16 mm.
sound pictures synchronized on wax
so that amateurs may project them
on their home equipment. Also it
will accept contracts for dubbing from
film to wax or vice versa.

For the accommodation of patrons
the company has provided on the sec-
ond floor of the studio besides the re-
ception room referred to a 16 mm.
projection room and six dressing
rooms.

On the main floor a waiting room
is connected with the studio office.
These give entrance to the smaller
recording room, with piano and ample
space for an orchestra.

Entering the Flexo indestructible
record manufacturing plant there are
rooms for the wax shaving machine
and for the wax melter. Also in ad-
joining rooms are the 150-ton hydrau-
lic press with six steam tables and the
six-leafed lift with its seven and a
half horsepower motor.

Each of these leaves represent a
pressure of 25 tons, the volume em-

ployed for a four or five inch record,
while the entire works are used for
a record of sixteen-inch diameter.

Copper and nickel plating tanks
are installed for the making of the
master record. In the recording room
is a large electrically heated closet,
thermostatically controlled, for stor-
age of waxes awaiting recording.

R. L. Warner, a son of the inventor
of Flexo records, will be in charge of
sound recording.

Direct for Home Screen

Reversing the long established rule
of providing for the 16 mm. consum-
ers pictures that have completed their
tour of duty on the theatrical screen
the Hollywood company now is well
into production on a series of twenty-
four short sound subjects created ex-
clusively for 16 mm. distribution.
They will range in length from 100 to
400 "feet.

These will feature Jimmy Adams,
known to radio followers as Lena,
a member of the Happy Ranch Boys
and broadcast over the KMT's Happy
Ranch hour. This group also is being
broadcast over the Pacific Coast net-
work on sponsored programs.

The 16 mm. films will be simultane-
ously recorded on Flexo records. So
far as known these will constitute the
first 16 mm. sound pictures ever made
for the home market direct.

Hollywood Film Enterprises is one
of the pioneers in the field of 16 mm.
subjects.

1. Wax shaving machine. 2. 150-ton hydraulic press for the making of Flexo indestructible records. William
Horsley, president Hollywood Film Enterprises, looking at finished product. ■!. Motor and lift operating hydraulic press.

Thirty

The INTERNATIONAL PHOTOGRAPHER

February, 1931

Eyemo Plays Star Part in Filming
Seal Hunters Among Breaking Ice

TO the many striking achieve-
ments of the Bell & Howell
Eyemo semi-professional cam-
eras must now be added the outstand-
ing and almost indispensable part
which one of them recently played in
the filming of an Arctic picture which
was turned over to Paramount for
release.

This picture is based upon the lives
of North Atlantic fishermen engaged
in the hazardous sealing industry. It
was taken by an expedition under the
direcion of Varick Frissell, youthful
producer and explorer, and it is in-
teresting to learn that the Eyemo
which served the expedition so not-
ably was included in the ecompany's
$30,000 worth of movie equipment
almost as an afterthought.

The work of the sealers who figure
in the picture is done on the Arctic
ice floes drifting south each summer
off the coast of Labrador. These floes
consist of broken fields of ice, heaving
and twisting as the great Atlantic
swells and rolls underneath.

The hunters approach the seals
rapidly, on the run, often leaping
from ice cake to ice cake, and mem-
bers of the Frissell expedition had to
follow on the sealers' course as
quickly as possible if they were to
capture vivid and realistic pictures.

It was quickly discovered that with
the ice so broken up as to challenge
even the agility of the light-footed
sealers it was impossible to accom-
plish the necessary rapid transporta-
tion of standard camera equipment,
due to its weight and bulk, but the
light Eyemo, with its tripod attached,
could be swung over long open leads
of water and caught without impair-
ing its ability to photograph a picture
of standard production quality.

As the hunters were running to-
ward the seals members of the Fris-

sell expedition would follow. When
open water was encountered which
defied leaping without the use of all
fours the Eyemo would be grasped by
the end of the tripod, and, by a long
pendulum swing, could be sent flying
over the water into the arms of an-
other member of the company, and
so relayed up the line into the center
of action, where it was quickly put to
work.

It was inevitable that sooner or
later some one would miscalculate in
the performance of this ritual. So it
came about that one bright day the
Eyemo found its way to the bottom
of the ocean, but not before it had
succeeded in obtaining some of the
most valuable shots made by the mem-
bers of the expedition. Scenes of
action in the midst of the vast seal
herds are now a part of the Frissell
picture.

Victor Announces New 3-G

Non-Theatrical Projector

WITH the general adoption of
the 16 mm, film and motion
picture projectors for practi-
cally all non-theatrical uses, intense
screen illumination has become a fea-
ture of vital importance in the more
highly developed equipments.

The lamp manufacturers have ex-
pended every effort toward devising a
projection lamp of the greatest pos-
sible efficiency. The latest accom-
plishment in this direction is the 250-
watt, 20-volt, T-10 size lamp which
was just recently placed on the
market.

This low voltage lamp, however, can
be satisfactorily used only in connec-
tion with a special transformer for
100-120-volt, 50-60 cycle, A. C. opera-
tion.

The new model 3-G Victor cine-pro-
jector has a special transformer built

New model -3-G Victor cine projector,
250-watt, 20-volt, T-10 size lamp,
with a highly perfected optical system

into the base, which permits the 250-
watt, 20-volt lamp to be used with the
utmost efficiency and with maximum
lamp life.

To provide for use of the 3-G Victor
cine-projector in communities where
50-60 cycle alternating current is not
available a "changeover" system of
wiring has been utilized which per-
mits the transformer to be cut out by
removing one attachment plug and
changing the location of another. The
projector may then be operated on
any 100-120 volt direct or alternating
current. The No. 10 Victor lamp
rheostat also may be attached to per-
mit the use of the 165-watt, 30-volt
high intensity lamp.

Another feature of the model 3-G is
a highly perfected optical system
which utilizes as much as possible of
the light emitted by the source.

Mechanically the 3-G Victor cine-
projector is identical to the widely
known model 3.

In appearance the 3-G differs from
the Victor model 3 only in that it has,
in place of a pedestal base, a recep-
tacle base in which the transformer is
housed. This new base adds beauty
and character to the projector, making
it an attractive as well as efficient in-
strument.

Monitor room taken from stage. 2. Left to right, recording table, amplifier, playback table with both ■13,j and 78

r.p.m., and miming panel. — Hollywood Film Enterprises Studio.

February, 19-11

The INTERNATIONAL PHOTOGRAPHER

Thirty-om

How 16mm. Hurdles Over Radio

Winnetka Store Finds in Second Year
Department Shows 50 Per Cent More
Return Than Older Line

New

EARLY in 1929, just to supplement
its radio business during- the
summer, the Radio Service Shop
of Winnetka, 111., decided to install
16 mm. motion picture equipment in
its store. The concern had been in
business seven years and was pros-
pering, but there was a belief on the
part of the two partners by introduc-
ing amateur cameras and projectors
it would tend to equalize the volume
of their business through the twelve
months.

William M. Crilly, one of the part-
ners, had dabbled in 16 mm. stuff for
some time in a recreational way. He
had become something of a fan and
had acquired a goodly bit of informa-
tion as to just what made the wheels
go around.

Mr. Crilly is in Los Angeles with
his family, making a visit of a few
months, his first visit. An Interna-
tional Photographer man met him at
the plant of the Hollywood Film En-
terprises, where he was being shown
the works by Walter W. Bell, man-
ager of the cine department, and Wil-
liam Horsley, the boss. As the Illinois
visitor mentioned installing the 16
mm. department the Photographer
man casually inquired as to how the
scheme worked out.

Stone the Builder Rejected

"Rather surprisingly," replied Mr.
Crilly. "Our figures for 1930, the sec-
ond year of the new department,
showed it did 60 per cent of our en-
tire business. So you may judge for
yourself as to whether or not we are
pleased with the result of our own
idea."

Practically all of the film handled
by the Radio Shop is of the 16 mm.
size. There have been a few notable
exceptions, one of these being the
4000-foot subject in 35 mm. film de-
signed to demonstrate to any one it
might concern just what kind of a
town Winnetka is and what the tax-
payers of this progressive village of
12;000 souls receive in the way of mu-
nicipal benefits frcm the money they
spend in taxes.

Town Has Own Equipment

The developing and printing were
done by Burton Holmes Lectures, Inc.,
of Chicago, as well as the making of
the 735 feet of titles inserted in the
subject. The picture already in its
influence has reached out of its imme-
diate community. Only recently H. L.
Woolhiser, village manager, of techni-
cal training along engineering lines,
showed it in Springfield, 111., to a con-
vention of village managers where it
aroused much interest.

Locally it has been shown in the
community hall to all of the organ-

izations in the town. It has aroused
particular interest when exhibited to
the men's clubs, to the Rotarians,
Lions and Kiwanians among others.

Another instance recently when 35
mm. film was used was in taking pic-
tures of the induction into office of
the nine members of the village coun-
cil and their ^resident. The stage was
lighted by lamps supplied by the Ra-
dio Shop.

The resulting pictures, as well as
those on 35 mm. taken by the Rev.
Mr. ("Chief") Davies of the camps of
the Boys and Girls' Scouts during the
summer, are shown at the community
house. The equipment for taking and
showing these pictures is owned by
the community, consisting among
other factors of a De Vry camera,
with tripod, and portable projector,
costing in its entirely about $1500.

While there is no theatre in the
town, the place of one is taken
largely by the community house, for-
merly used as a church.

Kiddies Strong for Chaplin

In the community hall also are
shown pictures for children at stated
periods, the subjects being selected
with especial attention to the audience
that will attend. An admission is
charged, although the project is of
the non-profit order. Westerns are
great favorites with the young pic-
turegoers — and also are those featur-
ing Charles Chaplin.

Asked as to what methods he em-
ployed to reach his clients when he
wished to acquaint them with some-
thing worth while, he said he used
simply a postcard, something which
might be read without even the ac-
companying trouble of opening an en-
velope. No attempt was made to dis-
guise the fact it was frank advertis-
ing, and he had found the plan to
work out successfully. These cards,
perhaps 500 in number, are sent to
well-to-do clients in territory between
Evanston and Highland Park, as well
as in Winnetka. The system also has
proved satisfactory in converting
prospects into customers.

Regarding the rental situation as
he found it Mr. Crilly said it was his
belief that it is better to have no
library than a poor one. The reaction
is bound to be bad where a client
learns a picture he is seeking is not
available, especially where the same
situation obtains in the case of a sec-
ond or third choice. The inevitable re-
sult is that a customer goes to
another store and takes his patronage
with him.

C. H. Affeldt is the other partner of
the Radio Shop. Mr. Affeldt gives his
special attention to the radio business

of the company while Mr. Crilly looks
after the photographic customers.

No one can talk a quarter of an
hour with Mr. Crilly without being
impressed with the fact that Win-
netka is a mighty fine town in which
to live — that it has an abundance of
civic pride, and justifiably so; that it
has a citizenship composed of men and
women who aim to make it not only
a home for themselves but for those
who come after them, their own chil-
dren among them.

And the interviewer gets the im-
pression also that Winnetka is fortu-
nate in counting among its municipal
possessions the Radio Service Shop
and the men who conduct it.

Textbook Answers Many

Questions of Amateurs

In the 1931 Filmo Catalog, just
issued by Bell & Howell, will be
found interesting discussions on such
subjects as why color filters are used,
the principles of exposure, and when
and why to use a tripod. Among
other topics treated in a popular but
authoritative manner are artificial
lighting for indoor pictures, titling,
editing and screening.

There is a discussion on speed
lenses, with a short section on the
Filmo optical system for Kodacolor
projection. The catalog's listing and
description of amateur products, in-
cluding many new accessories, should
be of value to anyone who owns or
expects to own a 16 mm. camera or
projector.

Among the new products included
is the Filmophone, a portable 16 mm.
sound reproducer. The book is well
illustrated and should prove of value
to the amateur. It will be sent free
on request.

Bell and Howell Catalogue Cover

Thirty-two

The INTERNATIONAL PHOTOGRAPHER

February, 1931

When Industry Calls on 16mm.

Mitchell and La Rue Tell Machine Shop Men How

Amateur Camera May Solve Problems

and Increase Factory Output

By R. FAWN MITCHELL and M. W. LA RUE

of Bell and Howell Company

Read Before the Machine Shop Practice Division, American
Society of Mechanical Engineers, in New York

PROGRESSIVE factory managers
are awake to the vital necessity
of their watching every opera-
tion and effecting every economy that
will cut down their overhead and im-
prove their output. After all is said
and done, a factory is the essence of
motion, so that it is not surprising
that a motion picture camera has
found much favor in assisting factory
managers to solve many of their prob-
lems, mechanical, training and re-
search.

Pictures of intimate phases of man-
ufacturing operations are used by
salesmen to convince the prospect of
the care used in making the equip-
ment and provide a very effective
selling talk. However, the principal
interest in this paper will be confined
to those uses of motion pictures that
more directly touch upon factory
managers' peculiar problems.

A close community interest among
employes is an invaluable asset to any
business, and a tremendous number of
manufacturers are using motion pic-
tures within their organization to pro-
mote this interest.

In conjunction with clubs of vari-
ous kinds, activities outside of work-

ing hours, and in self-government
projects, motion pictures grasp the in-
terest and the imagination of the em-
ploye, giving him a sense of actuality
of the thino- before him.

For general entertainment employes
frequently enact movie plays them-
selves, exhibiting their screen prowess
to fellow employes at regular meet-
ings. A tremendous number of sub-
jects can be leased or rented from the
many libraries of motion picture film
located in practically every town of
any importance throughout the United
States.

Two Big Questions

Now to consider the practical adap-
tation of movies to production prob-
lems in the shop there are two natu-
ral questions that will be asked.

1. How can motion pictures be used
to solve any particular problem ?

2. What is the most economical
method of securing results, what is
the cost, etc. ?

Most of you here assembled are far
more experienced in time and motion
study than the authors. We do not
wish to create the impression that we
are authorities on the subject. How-
ever, at our own factory in Chicago

Time clock is here shown in connection with camera in time and motion study
work. Courtesy Movie Makers.

we have, to some extent, studied the
application of the motion picture cam-
era to various phases of factory pro-
duction, and time and motion study
have engaged the attention of a num-
ber of our engineers.

Motion study men tell us that mo-
tion study is not a speeding-up proc-
ess. On the contrary, it seeks to find
the one best way of doing a job, which
is usually the easiest way.

For instance, Bill is engaged in
punching out blanks on a punch press.
George and Harry are at adjoining-
machines performing exactly the same
operation. Bill consistently turns out
more pieces than does either of the
others. Bill, therefore, must have a
better method of performing his
work. After study it is found that Bill
employs, say, four motions to do the
job, while Harry and George use six.

Obviously, George and Harry should
be shown how they, too, can increase
their output, improve their work, in
order that they may increase their
earnings and decrease their labor.

Stop Watch and Camera

A competent engineer with a stop
watch can make time studies and mo-
tion studies and return to his office
with figures which when anlyzed can
be used to definite advantage. If we
add a motion picture camera to the
stop watch we can then make a micro-
motion study of the operation to be
analyzed, and the engineer not only
has his stop watch readings, but a
visual record of the entire operation
synchronized with the time element.
This can be reviewed time and time
again, with the assurance that the
personal element, in the use of the
stop watch, is also eliminated.

To make a micro-motion study the
operation to be analyzed is photo-
graphed, including in the field a mi-
crochronometer or stop watch if de-
sired. There is a type of micro-
chronometer now on the market which
operates by a synchronous motor
which is ideal for the purpose. By re-
cording photographically the move-
ments of the operation and the move-
ment of the clock, time may be re-
corded to within .002 of a minute.

With the recent improvements in
camera design for the 16 mm. ama-
teur film, motion study work is made
particularly easy. Among the most
recent improvements in camera de-
sign of tremendous value to the ana-
lyst are the turret head and the criti-
cal focusing device. The use of lenses
of varying focal length permits the
placing of the camera in such a way
as not to interfere with the routine
performance of the operator or opera-
tion and enables the picture to be
made right in the shop.

Of particular importance is the fact
that such cameras are obtainable with
a range of various speeds that per-
mits photographing an operation in
normal sneed and then turning around
and photographing the same in semi-
slow motion. The speed of the cam-

February, 1931 The INTERNATIONAL PHOTOGRAPH

E R

Thirty-three

era can be adjusted to the speed of
the operation so that the action can
be slowed down just enough to facili-
tate analyzing the action without
slowing it down so much that the es-
sential sequence or rhythm of the
operation as a whole is lost sight of.

Doing Away with Clock

For simpler operations it is possi-
ble to do away with the clock by run-
ning the film through the camera at
a constant speed. Thus if the film
passes through the gate at 1000
frames per minute, the elapsed time
between any two frames is .001 min-
ute. An element of motion occupying
two feet of film or 80 frames must
have taken .08 minute to perform.

Thus the camera alone is made to
fulfill both functions. The highest
class of spring'-driven cameras now
available can be considered accurate
to within about two per cent. This is
satisfactory for quite a large number
of operations.

Probably the most satisfactory
method of doing this type of work is
to include the clock in the picture area
as sug'gested previously. This permits
individual analysis of each frame so
that the exact time elapsed for each
portion of an operation can be deter-
mined accurately. At the end of the
paper will be given references to ar-
ticles describing different methods of
doing this work for those interested
in following it up.

At this point we would like to make
brief mention of some of the special
types of machines now in common use,
such as weaving machines, folding
machines, and other automatic equip-
ment handling complicated operations.

Everyone knows how easy it is for
these machines to get out of order
and also everyone knows how hard it
is to place one's finger on the exact
cause of the difficulty. Here the super-
possible to take slow motion pictures
of extended length with professional
cameras.

However, there is available a com-
pact, spring-driven camera operating
at the same speed as the professional
camera — namely, 128 pictures per
speed camera proves its value. It is
second, giving a picture length of
about five or six seconds.

Ordinarily this is sufficient time to
analyze the usual run of such opera-
tions so that one can readily follow on
the screen happenings which are too
fast for the human eye correctly to
analyze. The action is slowed down
eight times by taking pictures at this
speed. By slowing down the projector
this can be slowed down still further,
though naturally this is not recom-
mended unless the circumstances ren-
der it imperative.

Pride of Workmanship

Satisfactory movies taken of intri-
cate operations tie up very nicely
with ordinary time and motion study.
By their aid employes can be shown
the importance of different phases of
an assembly very quickly and very
vividly.

It helps materially in enabling them
to appreciate the importance of their
particular part of the job in the whole.

If the average employe is able to ap-
preciate just how much his fellow
worker has to rely on his workman-
ship it is not a hard idea to sell the
employe the importance of exercising
sufficient care to have the pride of
workmanship necessary to turn out a
good job.

An interesting example of the use
of pictures for this type of work is to
be found in the telephone companies.
These companies train switchboard
operators not only in the actual ma-
nipulation of plugs, but also in the
understanding of the circuit and the
complicated wire traffic which they
never see.

Automobile manufacturers train
dealers in correct servicing methods,
how to perform the various types of
service in the most approved factory
manner.

Aeroplane companies, motor compa-
nies and practically every type of
manufacturer can use motion pictures
in analyzing and for training. There
is no operation, process, or routine of
any nature but what can be taught
better by movies.

Correlating Many Factories

The Genei'al Electric Company has
developed an interesting side line to
pictures originally designed for the
purpose of internal instruction. These
films are sent to other factories and
help more than anything else to en-
able branch managers in different
countries to correlate their produc-
tions with that at the main factory.

It was soon found that there were
numerous requests for permission to
show these films to high schools, uni-
versities, etc. Naturally, films shown
under these conditions to budding- en-
gineers, etc., had a material sales
value that, if anything, was even more
effective because they were not de-
signed to act as a selling film.

In conclusion, we would like to men-

tion a few thoughts on the possibili-
ties of motion pictures for research
work. Possibly the average factory
manager is not primarily interested in
pure research, but there are many
things which it is desirable for him
to find for certain. For instance, in
order to check the qualities of his lu-
bricating oil, motion pictures taken
through the microscone have been
found very valuable.

These pictures also can be taken in
color, as the color of the oil often
acts as a guide to its other qualities
and in this manner a permanent rec-
ord is kept which is valuable for fu-
ture reference. All engineers are
familiar with the value of still
photographs taken through the mi-
croscope showing steel structure.

Control of Lights

Motion pictures taken of similar
subjects, say under strain, etc., are
providing information of great value
as to the action of different steels
under different types of stresses. The
same thought obviously can be ap-
plied to other metals, alloys, etc.

There is a convenient titling device
known as the Character Title Writer,
designed primarily for amateur mo-
tion picture fans making their own
titles. By simply folding down the
title card holder on this unit, a most
convenient device is available for the
photographing of small parts.

Lights are provided on the unit and
a compensating device is also pro-
vided which automatically focuses the
lens and takes care of the offset of
the viewfinder so that you see ex-
actly the field that you are photo-
graphing and have every assurance
that you are getting the picture with-
out difficulty. The value of such a
convenient unit for many types of
work is self-evident.

It only costs a few cents to take a
few feet of film showing certain op-

Making a time and motion study of factory operation with In mm. camera
calibrated to register the time element.

Thirty-four

The INTERNATIONAL PHOTOGRAPHER

February, 1931

Table of Artificial Lighting Data

Distance of Filmo Camera from Subject
With 1" F 1.8 Lens With 1" F 3.5 Lens

HALLDORSON LIGHTING Wide <

UNITS EMPLOYED Panchro.

Film
Feet

1 arc lamp, 1 reflector 11

1 1000-watt light, 1 reflector. . 8

1 1500- watt light, 1 reflector. . 6

1 arc lamp, 1 1000-watt light,

reflectors 15

2 1000-watt lights, reflectors. . 10

1 1000-watt light, 1 500-watt

light, reflectors 9

2 500-watt lights, reflectors ... 8

erations. Usually one of the promis-
ing apprentices in a shop is an ama-
teur photographer and with practically
no training at all a very satisfactory
picture can be taken with one of these
small cameras and a couple of lights.

At the end of this paper will be
given a table showing the number of
lights necessary at different distances
with different lenses on the camera.
These figures cover ordinary condi-
tions. Some sort of a photometer or
exposure meter is really desirable, but
the table will give a close approxima-
tion that should help those interested
in taking their own pictures.

The 16 mm. amateur size film is
comparatively cheap, so that if the
results are not satisfactory the first
time they can be shot over without
inconvenience or more than the loss
of a couple of dollars' worth of film.
Therefore, there is every inducement
for the factory manager to investi-
gate the possibilities of this new tool.
In fact, it is desirable that they do
more than investigate — that they ap-
ply it to their problems.

Sufficient work has been done along
this line so that it is possible to state
without equivocation that motion pic-
tures provide a most effective means
for a factory manager to improve his
production, to train his employes, and
to do research work where records —
in motion — are available for compar-
ison at a later date. It is trite to
point out the importance of compar-
ing records; every manager does that
regularly. How much more important
is it to compare records — in motion —
where the time element is as impor-

•pen

Wide

Open

Current

Ortho.

Panchro.

Ortho.

Drawn

Film

Feet

Amperes

13 y2

tant if not more important than the
mechanical factors involved?

NOTE.— The above table is calcu-
lated upon the following assumptions:

(1) That the walls and ceilings
have average reflecting power, that is,
white ceilings, medium toned walls.

(2) That no daylight or other addi-
tional light than average home illu-
mination (which has negligible actinic
value) falls upon the subject.

(3) That the subjects are clothed
in medium colors — neither white nor
very dark.

(4) That, in the arc lamp, regular
carbons are used with orthochromatic
film and panchromatic carbons with
panchromatic film.

For photographing machinery add
50 per cent to 100 per cent more
light.

References: Factory and Industrial
Management. June, 1930, "The Movie
Camera, an aid in the search for the
'one best' method" — Allan Mogen-
sen, assistant editor; July, "Operation
Analysis with the Motion Picture
Camera" — M. A. Dittmar, Ph.D., as-
sistant general manager, Lehn &
Fink; September, "Training Time
Study Men" — Allan Mogensen; Octo-
ber, "Micro-Motion Study Applied to
the Manufacture of Small Parts" — R.
M. Blakelock, wage rate department
General Electric Company; November,
"We're Not Experts in Micro-Motion
Techniaue but We're Learning Fast"
— F. J. Van Ponpelen, Cadillac Motor
Car Company, Detroit; July-August,
International Review of Educational
Cinematography (published by League
of Nations, Education Cinemato-
graphic Institute).

Chancellor Completes Two

Reels Showing Big Lizards

PHILIP CHANCELLOR is now in
Hollywood engaged in editing
films photographed on the two
Chancellor-Stuart Field Museum ex-
peditions conducted during the last
year and a half. The laboratory work
is being done at the plant of Holly-
wood Film Enterprises.

Two 1000-foot reels have reached
the stage of preliminary showing.
These are devoted entirely to pictures
of the varanus komodensis, or lizard,
the securing of which was the main
objective of the expeditions. The
film shows the animals in groups at
times of three as thev come out of

the jungle to tackle the bait prepared
for them. The animals photographed
ranged in length from 7 to 9 feet and
weighed about 300 pounds.

Strangely enough, as the pictures
show, the lizards will outrun a man.
Eleven in all of these were captured,
three of which were prepared for
mounting for the Field Museum in
Chicago, where they now are. All of
the pictures were shot on 35 mm.
film.

The scene of the capture of these
animals was Flores Island, between
Java and Australia. Chancellor is
planning to return this summer to the
Pacific islands on another explora
tory expedition sponsored by the Field
Museum.

Bell and Howell Issues a

Still Camera Photometer

THE Bell & Howell still camera
photometer, just announced, is
an exposure meter. It is bas-
ically the same as the Bell & Howell
photometer for Filmo movie cameras,
but is especially calibrated to meet
the requirements of the still photog-
rapher, whether he is a beginner or a
highly advanced amateur or profes-
sional.

The essential features of the orig-
inal photometer, including its con-
venient size, its light weight of about
five ounces, and its three dials are all
retained. There is the same simple
procedure of looking directly through
the instrument at the object to be
photographed, matching an electric
filament with the brilliancy of the
subject, and then making an exposure
reading direct from the dial system
without guesswork or calculation.

As in the movie photometer, the
exact exposure of any portion of a
subject can be readily determined, so
that the range of contrasts of any
view can be arrived at with exactness.

The still camera photometer is cali-
brated to a range of shutter speeds
and exposure times from 32 seconds
to 1/1000 of a second and to lens
stops of from F 1 to F 32.

A tremendously important factor in
still photography is that the effective
photographic speeds of the different
types of plates and films vary much
more than the films used for motion
picture work. Therefore, a dial has
been calibrated in this new photom-
eter so that the instrument can be
quickly set to compensate for what-
ever speed of plate or film may hap-
pen to be used.

The same dial also carries another
set of calibrations to facilitate quick
compensation for filters of various
strengths. The photometer obviously
covers all lenses, all plates or films,
and all conditions of illumination that
are ordinarily met with in still work.

Mole-Richardson Supplies

Lights for French Plant

Mole - Richardson studio lighting
equipment is known all over the world
and is practically standard in all the
American studios. Recently the com-
pany received a large order for 24-in.
Incandescent Sun Spots from the
Cinestudio Continental, Saint Mau-
rice, France, which is controlled by
the Paramount Publix Corporation.

So far the Mole-Richardson Com-
pany has not had any direct Euro-
pean representation; but I hear that
the concern is now affiliated with
VenrecO, Ltd., of London, the stage
lighting specialists. This will enable
the latter company to manufacture
studio lighting equipment from Mole-
Richardson designs.

VenrecO, Ltd., will also act as rep-
resentatives and sales agents for
Mole-Richardson, Inc., in England
and on the Continent. Mr. Mole state's
that this connection will greatly in-
crease the sale of Mole-Richardson
products in international fields. — F. F.
in Bioscope, London.

February, 19 31

The INTERNATIONAL PHOTOGRAPHER

Thirty-five

Now Operations Are Photographed

Wisconsin Surgeon Explains How Best Results

Are Secured by Placing- Camera and Lights

Directly Over Patient

By RICHARD B. STOUT, M.D.

Of Jackson Clinic of Madison, Wis., in The
Journal of the American Medical Association

masks the red portion of the Koda-
color filter.

For our particular work a little
better color rendition was obtained
by removing the ratio diaphragm
entirely and covering a portion of
the red side of the filter with a piece
of black lantern slide binder.

SURGICAL practice lends itself
admirably to the taking of motion
pictures to perpetuate the tran-
sient phases of operative technic.
Unfortunately, many difficulties con-
front a cameraman who may want to
photograph an operation in progress.
First of all the surgeons cannot be
inconvenienced by the intrusion of
photographic equipment. In any case
the cameraman is kept so far away
from the sterile field that his film
usually records more elbows and
backs than it does the operation.

To record what the surgeon sees
and does the camera is best placed
somewhere above the patient but far
enough away not to interfere with
the surgeons or nurses. The accom-
panying illustration shows how a 16
mm. Filmo camera was attached to a
regular Operay light, which may be
conceded as being one of the most
logical positions for it. To do this an
iron ring was fastened between the
main lens of the lamp and frame.
This ring was made with a projecting
piece to which the Filmo camera was
fastened.

Remote Control Necessary

As the camera was then out of
reach a remote control was necessary,
and a solenoid electromagnet was de-
signed which could be fastened over
the release button on the camera and
controlled by a foot switch. This
solenoid was made by winding a small
brass tube in which a small soft iron
armature was attached to the upper
end by a spring.

When the switch is pressed the
armature is pulled down, operating
the starting button and permitting
the taking of single frames or longer
exposures at will. The surgeon or
his assistant may thus be the cam-
eraman and take only the important
steps of the operation.

Lighting an Operation

As the camera spring must be re-
wound if more than 25 feet of film is
to be exposed, the rewind device,
shown in the illustration, was made.
The shaft of a 4-inch, V-grooved pul-
ley was fitted to the winding key
socket of the camera. Several turns
of fine piano wire were taken around
it and passed through a one-fourth
inch flexible copper tube to a smaller
wheel with a crank attached. A
nurse may thus rewind the camera
as necessary, from a distance.

Satisfactory black and white pic-
tures may be taken at F 4.5 by the
illumination of the ordinary operat-

ing light, but for Kodacolor pictures
a considerable amount of auxiliary
illumination is necessary.

Eight small automobile spotlights
were fitted with double filament 32-32
candlepower 8-volt bulbs, all of which
were connected in series and attached
to the operating light by the arms
shown.

The series of auxiliary lights were
then connected in multiple with the
electromagnetic camera release and
both controlled by the foot switch and
operated on the 110-volt lighting cur-
rent. Heat generated by the lights
during the thirty to sixty second
"shots" ordinarily taken is not ob-
jectionable. The low voltage lamps
used generate far less heat than the
regular type of lamp, so that water
cooling is unnecessary.

The light emitted by incandescent
lights has more red and yellow in its
composition than daylight, so allow-
ance has to be made accordingly
when Kodacolor pictures are to be
taken. This can be taken care of by
reversing the ratio diaphragm that
comes with the film so that the part
that ordinarily masks the blue now

Florida Journal Printing

Tales by Esselle Parichy

IN ITS issue of Sunday, January
18, the Miami (Fla.) Daily News
in its rotogravure section carried
an entire page of camera studies of
Santo Domingo contributed by Esselle
Parichy, International Photographers.
This is but the first of a series of
pictures and incidentally stories as
well our fellow-member will photo-
graph and write for the Miami jour-
nal. The succeeding number told th?
story of a trip to the West Indies.

This magazine extends its congrat-
ulations to the Miami Daily News on
its new contributor. If it already has
not so learned it very shortly will
that there are photographers who
also possess the gift of graphic de-
scription. Some of these cameramen
have not yet made the discovery, but
eventually the knowledge will be con-
veyed to them by competent as well
as impartial critics.

A Film Club has been instituted
in Brunn (Czechoslovakia), com-
prising all branches of the Czecho-
slovak film industry; producers, dis-
tributors, exhibitors, scenario writers,
etc.

Making Kodacolor pictures of a surgical operation

Thirty-six

The INTERNATIONAL PHOTOGRAPHER

February, 1931

Hi * ^

if^ ^^ ' M^Hk.

HKA\ . J^^k |£3a^

^^^^H

.7. L. Herrmann at the Ray-Belt studio makes sound record of the proceedings
of amateur Twin City magicians, among the events being the exemplification
of the doll house illusion — wherein the young woman shown here is lifted out

of the miniature cottage.

When Amateur Magicians Perform
They Make Sound Screen Record

THE coming- of sound has opened
up new avenues of usefulness
for pictures, as is illustrated by
the program arranged for a recent
meeting of the Twin Cities branch of
the Society of American Magicians.
The organization is composed of
business men who indulge in feats of
magic as a hobby. Among the mem-
bers of this particular branch is Carl
Jones, owner of the Minneapolis
Journal; Dr. John Taft, leading-
physician and surgeon, and George
Foster, a manufacturer of cosmetics.

The meeting of the branch was
held on one of the stages of Bay-Bell
Films, Inc., and was photographed
by J. L. Herrmann of Paramount
Sound News, and recorded by George
L. Graham. Messrs. Ray and Bell
not only turned over their studio to
Mr. Herrmann — and that included
everything, from lamps to props —
but they pitched in themselves.

The set-up in the accompanying-
still picture represents what is known

as the doll house illusion. Mr. Foster
started the proceedings with a little
doll not more than five inches in
heighth. Gradually but very steadily
the dolls kept getting larger. The
climax came when the young woman
shown in the picture was helped out
of the tiny house by Mr. Foster.

Mr. Herrmann sends word from
Messrs. Ray and Bell that the latch-
string is out for any International
Photographer from the north or east
or west to make their studio his head-
quarters while visiting Twin Cities.

The studio is situated at 817 Uni-
versity avenue, St. Paul, and has
three floors of well-equipped dark-
rooms, with a choice either of arc or
incandescent lamps on the stages.

Local 666 members affiliated with
Ray-Bell Films are R. H. Ray, C. E.
Bell, H. W. Cress, H. C. Oslund,
B. O. Foss, F. R. Arver and J. Pavel.
Soundman Graham also is a member
of the Chicago organization. "A fine
bunch of fellows," says Herrmann.

16 mm. Film Runs 19,300

Times Before Scrapping

A 16 MM. film was run through a
Filmo projector 19,300 times
before the film could be consid-
ered in such a state that it should be
thrown aside as practically useless.
Despite the fact that this film was
run in a regular projector with a
single tooth shuttle drive careful
measurement with a measuring micro-
scope indicated identical wear on the
perforations on both sides of the film.

This test goes to prove that in the
long run the principal wear is at the
sprockets and not at the aperture.
This might be considered due to the
fact that the sprocket teeth necessari-
ly enter the perforations with a more
or less rolling motion which would in
time tend to chip the film, whereas
the shuttle tooth has a perfect recti-
linear motion, entering the perfora-
tions at right angles and starting to
move very slowly with a constant ac-
celeration.

At the latter portion of the stroke
the acceleration decreases in like pro-
portion and the shuttle tooth leaves
the perforation at right angles.

Most persons do not show their pet
films more than twice a week. At
this rate these films can be shown
twice a week for 190 years. There-
fore there seems little cause to fear
that the most valuable amateur films
need ever be worn out as long as a
good projector is kept in reasonably
good condition and the film also kept
in reasonably good condition by the
use of humidors and proper storing.

Advance in Slereoscopy

A further claim to have solved the
problem of stereoscopy has now been
made by Continsouza, the French
projector manufacturer, now part of
the Gaumont concern. Nevertheless,
in its present stage the invention is
only effective with one spectator.

A film made on this new principle
was shown in natural colors and pro-
jected through a new type of appa-
ratus. Continsouza claims that it will
be able to put the perfect three dimen-
sional projector on the market in the
near future.

The directors of Copenhagen the-
atres have decided that within con-
tract limits, artists employed on their
stages will not be allowed to act in
sound films.

Mitchell and Bell & Howell Cameras

Sales and Rentals

For Rent Three Mitchell sound cameras complete, including two 1,000-ft. magazines

with each camera at regular camera rental.
For Sale — -Bell & Howell cameras complete and in first class condition. Prices on

application.

J. R. LOCKWOOD

GRanite 3177
Phone

1108 North Lillian Way
Hollywood, California.

Cable Address
"Lockcamera" Hollywood

February, 1931

The INTERNATIONAL PHOTOGRAPHER

Th irty-seven

Fast Eastman Plates

(Continued from Page 28)

tive enough to record swift action
shots. The new Eastman plate,
however, a picture agency executive
declared, is faster than anything
manufactured abroad.

"When a photographer speaks of a
'fast plate' he means a plate on
which the emulsion is sensitive
enough to record a scene in the frac-
tion of a second during which the
shutter of his camera is open. For
average newspaper work the shutter
works at about one one-hundredth of
a second.

"On clear days action shots of foot-
ball games or races can be taken at
a speed of one five-hundredths of a
second, but the result depends on the
sensitivity of the plate. Light and
shadow make all the difference in the
world to a news photographer. He
may shoot plays in the first half of a
football game in sunlight at one one-
hundredth of a second, and in the last
quarter with fading light he may
have to use a speed of a fiftieth of a
second.

"For this reason cameramen usual-
ly carry two kinds of plates on such
assignments. The new Eastman plate
is looked upon as a means of getting
the fullest effectiveness out of new
high-speed cameras."

Some of the pictures made with
these plates have been so unusual
that mention of the new material has
been considered a part of the news
interest of the pictures. Captions
have stated that the pictures were
made with a new plate which does
not require a flash or other form of
supplementary light.

Eastman hyper-press is wonder-
fully fast and efficient for all forms
of outdoor work in daylight. The
press photographer can never take a
chance on failing light for, rain or
shine, he must produce pictures that
his paper can use.

He uses a small camera with the
fastest lenses obtainable, and he
must have as fast a plate as can be
made. His greatest problem, how-

VllMMbitjf

The Rev. Bernard Hubbard, S.J., clergyman-explorer, with Eyemo camera in
the Aniakchak crater in Alaska. It as the first time a motion picture camera
has been taken into the largest active crater in the world, being twenty-one

miles in circumference.

ever, has been night pictures. It is
here tat even the fastest plate falls
off in speed because all artificial light
contains a large proportion of color
other than blue, and practically all
extremely high speed plates are
totally blind to red and very little
sensitive to green and yellow.

The logical solution of this prob-
lem was an extremely fast panchro-
matic plate, sensitive to all colors,
and this plate has been produced.

As speed and color sensitiveness
are increased, however, as they have
been in these plates, precautions also
must be increased to protect their
great sensitiveness against light dur-
ing loading and unloading holders
and in development.

The hypersensitive panchromatic
should be handled in perfect dark-

ness when possible and under no cir-
cumstances should it be exposed to a
red light. If the Series 3 green
Wratten safelight is used it is best
not to expose the plate to its light
until he image is well formed.

WEBB-DOUGLAS
PRODUCTIONS

Completing

"AIR POLICE"

for Sono-Art-World-Wide Release
Directed by Stuart Paton
Harry Webb Supervising

ROY DAVIDGE FILM
LABORATORIES

An Exclusive "Daily" Laboratory

6701-6715

Quality and Service

SANTA MONICA
GRanite 3108

BOULEVARD

Thirty-eight

The INTERNATIONAL PHOTO

G R A P H E R

February, 1931

Front and rear angle views of new
Mole-Richardson Integral Inkie

Mole-Richardson Places on

Market Its Integral Inkie

Mole-Richardson, Inc., designers
and manufacturers of incandescent
equipment for set illumination, an-
nounce a new product, the Integral
Inkie. This lamp is generally con-
ceded by those experienced in set
lighting to be one of the most satis-
factory units of its type for set light-
ing purposes.

With the introduction of noiseless
recording a demand has arisen for
noiseless lighting equipment. The
Integral Inkie meets this demand, it
is claimed, since it has been so de-
signed that no parts are used in its
construction which produce expan-
sion noises when the equipment is
switched on and expanding with the
heat from the Mazda, globe.

The head of the Integral Inkie is
designed of one single aluminum alloy
casting. The housing, mirror, dome,
ventilator, light baffles, lamp trough,
switch box and trunion plates are
one integral piece.

This lamp head is cast from a spe-
cial silicon aluminum alloy known in
the trade as No. 43. Castings from
this alloy differ from ordinary alum-
inum castings in that if they are bent
or deformed they can be easily
straightened. In case lamps of the
new type are damaged by falling
from the parallels or by being
knocked over they can be repaired by
ordinary workmen without excessive
cost.

Another feature of this alloy is
that it is one of the lightest of the
aluminum alloys, being 7 per cent
lighter than those customarily used.

The few additional parts to this
lamp, such as the slide rods, mirror
ring, etc., have been designed to have
unrestricted movement which allows
them to expand freely without pro-
ducing any sound.

For the Integral Inkie the manu-
facturer claims it is noiseless from
the time it is switched on, that it is
sturdy and strong, the total weight
of the complete unit being 6QV2
pounds, and that it is a convenient
lamp to handle when rigging the set.

Mole-Richardson already have the
18-inch and 24-inch sun spots of the
new type in production.

Bell and Howell photometer for still
camera

Lyons Writes Technical Terms

Reginald E. Lyons of International
Photographers has contributed to the
forthcoming Webster's Dictionary
about 1,000 words defining technical
terms and slang regarding the mo-
tion picture camera. He will be so
credited in the big book.

Lyons has been 21 years in the
motion picture business.

King Charney says . . .

WHETHER IT BE CARBON OR INCANDESCENT LIGHTING
WHETHER IT BE TALKIES OR SILENT

Insist
Upon

Negative

For definite results

AGFA RAW FILM CORPORATION

February, 1931

The INTERNATIONAL PHOTOGRAPHER

Thirty -nine

Trueball
Tripod Heads

MODEL B

Their use for follow shots
assures smooth operation,
having an equal tension on
all movements. Also, their
action is unaffected by
temperature.

Fred Hoefner

Cinema Machine Shop

5319 Santa Monica Blvd.

GLadstone 0243 Los Angeles

MELROSE
Trunk Factory

UNION MADE Camera

Cases for
UNION CAMERAMEN

UNION MADE Camera Num-
ber Boards

Trunk and Luggage Repairing
Our Specialty

Automobile Trunks, Sample and
Make-Up Cases to Order

GLadstone 1872 646 N. Western
LOS ANGELES, CALIF.

vj<isn . . .

For professional Bell &
Howell and DeBrie cameras.
Send full description for cash
offer. Or telegraph Bass
Camera Company, 179 West
Madison street, Chicago,
Illinois.

With Compliments
Earl (Curly) Metz

Assistant Cameraman

James E. Woodbury

Portrait and Commercial
Photographer

GRanite 3333 5356 Melrose Ave.
Los Angeles, Calif.

Turn your scrap film and short
ends into cash

HORSLEY CHEMICAL
COMPANY

1123 Lillian Way GLadstone 5490
Hollywood

Dr. G. Floyd Jackman

DENTIST

Member Local No. 659

706 Hollywood First National Bldg.
Hollywood Blvd. at Highland Ave.

GLadstone 7507 Hours: 9 to 5

And by Appointment

CAMERAS, LENSES

BOUGHT, SOLD

EXCHANGED, REPAIRED

RENTED

27"

WE SELL

ZEISS • IKON . GRAFLEX
NAGEL • VOIGTLANDER

FILMO - VICTOR
CINE KODAK • LEICA

ESTABLISHED 191 1

AT, 3S* *. BROAIWVAY

MUtual 4S&9

Cinex Testing Machines
Cinex Polishing Machines

Developing Machines

Printing Machines rebuilt for

Sound Printing

Special Motion Picture Machine

Work

Barsam - Tollar
Mechanical Works

7239 Santa Monica Blvd.

Hollywood, California

Phone GRanite 9707

The new "Local 659" emblem.
Small, chic and attractive. Or-
der from your Secretary or direct
from manufacturers.

J. A. Meyers & Co.

822 South Flower Street

The largest jewelry factory

in the West
Diamonds — Watches — Jewelry

Phone GLadstone 4151

HOLLYWOOD
STATE BANK

The only bank in the Industrial

District of Hollywood under

State supervision

Santa Monica Boulevard at
Highland Avenue

ILTEHS,

iraJun ("WntviM mi HHaMOtats in ttepKnK-
FtqSmm- MfawiTwia rod m»y >thir fffnts.

cAste youp dealep. or ujpite to

GEORGE H. SCHEIBE

PHOTO-FILTER SPECIALIST

Ferry

The INTERNATIONAL PHOTOGRAPHER

February, 1931

Wishing everyone success for theNewYear

VERNON L. WALKER

Specializing in

PROCESS
Miniature, Trick and Unusual Shots

Address 601 West Fairmont, Glendale, Calif.
DO. 5032-R HE. 1128

CLASSIFIED

W. A. SICKNER

FIRST CAMERAMAN

COMPLETE

AKELEY
EQUIPMENT

CRestview7255 GLadstone 5083
HEmpstead 1128

Kenneth Peach

Special Effects

FRED JACKMAN

W. R. - F. N.

Alvin Wyckoff

Multicolor

Aerial Photography

WM. H. TUERS

GR. 9097

HE. 1128

J. N. Giridlian

SECOND CAMERAMAN
STerling 1293 TErrace 9152

FOR SALE— Cameras— Mitchell, Bell & How-
ell, Akeley ; lenses and accessories of all
kinds ; new and used. HOLLYWOOD CAM-
ERA EXCHANGE, 1511 Cahuenga Boulevard.

FOR RENT— Three Mitchell cameras, high
speed movements. 1000 ft. magazines. J. R.
Lockwood, 1108 N. Lillian Way. GR. 3177.

MITCHELL high-speed Camera No. 225. Van
Rossem. 6049 Hollywood Blvd. HO 0725.

FOR SALE— Bell & Howell Cinemotor. Used
one picture. $175. J. R. Lockwood. 1108

N. Lillian Way. GR 3177.

MISCELLANEOUS

WANTED— FROM GLOBE-TROTTING CAM-
ERAMEN FILM OF FOREIGN COUN-
TRIES. ADDRESS REX GORDON, 1215
JUNE ST., HOLLYWOOD. PHONE GR 6933.

SAVE 25 to 50% on Voigtlander, Zeiss, East-
man and Grafiex Cameras. Hundreds of
new and used bargains to choose from. All
guaranteed for one year. Also Cameras re-
paired, rented, bought for cash, exchanged at
Peterson's Camera Exchange, 356 S. Broad-
way. Upstairs entrance Room 321.

FOR RENT

Mitchell with Speed Movement
complete. Five matched and cali-
brated lenses.

4, 3, 2, 40 and 35 Pan Tachar
2 1000 ft. and 4 400-ft. magazines
1 Gear box and shaft
1 Baby tripod and high hat

Glenn R. Kershner

Culver City 3154

ELMER G. DYER

HE8116-HE1128

Walter J. Van Rossem

PHOTOGRAPHIC LABORA-
TORY.
MITCHELL CAMERA No. 225,

COMPLETE, FOR SALE

HOlly 0725 6049 Hollywood Blvd.

Hollywood, California

Art Reeves
Cliff Thomas

Phone
HOIIywood 9431

y<AMim

IX0HANQE

The Clearing House

for Cameramen

Mitchell and Bell & Howells FOR RENT

Cameras and Projectors and
Accessories bought and sold

Commercial Photography

1511 N. Cahuenga Blvd.

HOLLYWOOD, CALIFORNIA

Kodak Supplies

Still Finishing

16 mm., 35 mm. Developed and Printed

r25

MARCH • NINET

THIRTY- ONE m

*EG. U.S. PAT. OFF

Presents

A New

High Speed Panchromatic Negative

Retaining the Same

Color Balance, Fine Grain,
and Latitude

Of the Former Product
The Extreme Sensitivity Allows

A Material Reduction in Lighting

"A Comparative Test Will Convince"

SMITH 6c ALLER. Ltd.

6656 Santa Monica Boulevard HOllywood 5147

Hollywood, California

Pacific Coast Distributors

For

DU PONT PATHE FILM MFG. CORP.

35 West 45th Street New York City

March, 1931 n«INTERNATIONALPHOTOGRAPHER One

BELL & HOWELL CAMERAS
FOR COLOR

AN ADAPTATION of the famous Bell & Howell pilot pin intermittent
X A_ mechanism, readily interchangeable with the regular, ultra speed, or
silenced mechanisms, makes any Bell & Howell Camera a color camera
for any of the Bi-Pack processes. Convertibility of the camera for color
from monochrome, and vice versa, is accomplished at a moment's notice.

The new mechanism is so constructed that the focal plane of the Bi-Pack
films (which are run emulsion to emulsion) is in exactly the same position
as the focal plane of the black and white film in the regular mechanisms.
There is no necessity for any change or adjustment on the camera itself —
the focusing ground glass is left in the standard position.

COOKE SPEED-PANCHRO LENSES

The new Cooke Speed-Panchro lenses are also ideal for Bi-Pack color proc-
esses, as correction of the chromatic aberration is extended to the red
portion of the spectrum. For the same reason, these lenses are especially
efficient for use with incandescent lighting and panchromatic films, while
they retain full correction for orthochromatic film and ordinary lighting.
The Speed-Panchro series has the F2 opening. For use where speed is
not paramount, a Panchro series with an F 2.5 opening is offered, with
correction identical to the Speed-Panchro series. Write us for full details
and prices covering both mounted and unmounted lenses.

BELL & HOWELL

BELL & HOWELL CO., 1849 Larchmont Ave., Chicago, Illinois • New York, 1 1 West 42nd St.
Hollywood, 63 24 Santa Monica Blvd. • London (B& H Co., Ltd.) 320 Regent St. * Established 1907

Two

The INTERNATIONAL PHOTOGRAPHER

March, 1931

WHEN

COOLNESS

COUNTS

Scene from "The Royal Family" — A Paramount Picture

*£%&£& K^_y HOOTING a scene with swift action
requires light and plenty of it. Neither
actors nor cameraman want heat. National Photo-
graphic Carbons provide the brilliant illumination and
photographic superiority of natural sunlight without
the discomfort of less efficient light sources.

And the carbon arc CAN be silenced. The number
of successful sound pictures made under carbon arcs
is definite proof of this fact.

National Photographic Carbons are developed to
give LIGHT . . . economical light . . . quiet light . . .
cool light.

NATIONAL

PHOTOGRAPHIC CARBONS

Proved by test the most economical form of studio
lighting. Maximum photographic light per watt of
electrical energy. A size for any studio arc lamp. . .

NATIONAL CARBON COMPANY, INC.

Carbon Sales Division Cleveland, Ohio

NEW YORK PITTSBURGH CHICAGO SAN FRANCISCO

Unit of Union Carbide [IJjj and Carbon Corporation

BRANCH SALES OFFICES:

INTERNATIONAL
PHOTO GPAPHE R

Official Bulletin of the International
Photographers of the Motion Pic-
ture Industries, Local No. 659, of
the Intel-national Alliance of The-
atrical Stage Employees and Mov-
ing Picture Machine Operators of
the United States and Canada.

Affiliated with

Vol. 3

HOLLYWOOD, CALIFORNIA, MARCH, 1931

No.

"Capital is the fruit of labor, and could not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.

C 0

N T

E N T S

Eastman Issues Super Sensitive Pan-

Tale of Three-Element Cineglow...

.22

chromatic Negative Type Two

Cartoon — "The New Assistant"

.25

Radio Pictures Using Safety Parallel 7

By Glenn R. Kershner

With Shackelford in Gobi's Desert

1930 Exports Drop from 1929

.26

By James Shackelford

Chile Employs Films for Education.

.29

Looking In On Just a Few New Ones.
By George Blaisdell

.10

Chicago Company Successfully Using
Films for Stock Selling 29

Dirt and Scratches

Conducted by Ira Hoke

Claim 12-Foot Screen Now Possible
For 16 mm

.30

DuPont Producing Faster

Panchromatic Negative

By Harry Birch

Where Death Stalked Luxury

Now Reigns

Life Is a Rose — In Memoriam

By Virgil Miller

Stills Are Not Affected by Talkers.

.18

Whispers Now Really Are Just That

.35

The International Photographer is published monthly in Hollywood by Local 659, I. A.T.S.E.

and M. P. M. O. of the United States and Canada
Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles, Calif., under

the act of March 3, 1879
Copyright 1930 by Local 659, I. A. T. S. E. and M. P. M. 0. of the United States and Canada

Howard E. Hurd,

George Blaisdell ------- Editor

Ira Hoke Associate Editor

John Corydon Hill

Publisher's Agent
Lewis W. Physioc 1
Fred Westerberg j
- - - Art Editor

Technical Editors

Subscription Rates — United States and Canada, $3.00 per year. Single copies, 25 cents
Office of publication, 1605 North Cahuenga Avenue, Hollywood, California. HEmpstead 1128

The members of this Local, together with those of our sister Locals, No. 644 in New York, No.
666 in Chicago, and No. 665 in Toronto, represent the entire personnel of photographers now
engaged in professional production of motion pictures in the United States and Canada. Thus
The International Photographer becomes the voice of the Entire Craft, covering a field that
reaches from coast to coast across North America.
Printed in the U. S. A. l--^MS^2 at Hollywood, California.

Four

The INTERNATIONAL PHOTOGRAPHER

March, 1931

Eastman Issues Super Sensitive
Panchromatic Negative Type Two

At Dinner Given by Brulatour Company Emery

Huse Presents to Camera and Laboratory

Men Data of Characteristics

WHAT is declared to be the most
representative gathering of
cameramen ever assembled un-
der one roof were the guests on the
evening of February 5 of J. E. Brula-
tour, Inc., of California at the Up-
lifters' ranch in Santa Monica Canyon.
Mingling with them were practically
all of the laboratory experts of the
west coast.

The occasion was the announcement
of the Eastman Kodak Company's new
super sensitive panchromatic type two
motion picture negative film, a tech-
nical description of which will be
found in another part of this story.

William J. German, vice-president
and general manager of the Brulatour
company of New York, arrived in
town two days before the dinner, re-
turning east two days following.
Associated with Mr. German were Ed-
ward 0. Blackburn, vice-president of
J. E. Brulator, Inc., of California; Bud
Courcier and George Gibson.

The Eastman Kodak Company was
officially represented by Edward P.
Curtis of Rochester, sales manager of
the motion picture division, who is
making an extended business visit in
Hollywood this winter.

At the conclusion of the dinner, at
which approximately 260 sat down,
Mr. Blackburn as master of cere-
monies referred to the cordiality and
the confidence that have marked the
relations between the camera and
laboratory divisions on one hand and
the Eastman company on the other.
Progressed Together

"We have progressed together, and
I am very sure we shall continue to
do so," the speaker went on. "We
have invited you here as our guests
tonight in order to present to you and
in order to describe to you in detail
the latest and the greatest triumphant
achievement of the research labora-
tory of the Eastman Kodak company.

"Without further preliminary and
with genuine pride of association I
want to introduce to you the chief of
the sales department of the motion
picture film division of the Eastman
Kodak Company of Rochester, Mr. Ted
Curtis."

Mr. Curtis raised a hearty laugh at
the opening of his chat when he re-
ferred to a still picture that had been
taken at the beginning of the dinner.
This still, by the way, was exposed in
a room 45 or 50 feet wide by some-
thing like 100 feet long. Forty-eight

frosted lamps, of possibly 60 watt
each, constituted the illumination.
There were lamps over the small
stage which had attracted no atten-
tion, not even of the photographer.

At the time the picture was exposed
to the scant light mentioned and with-
out any flashlight to conform to his-
toric precedent a majority of the cam-
era and laboratory men present open-
ly were skeptical that any picture
would be returned.

So there was much laughter when
the Eastman sales chief opened up by
saying that "Before beginning my few
remarks I regret to inform you there
has been a slight hitch in the presen-
tation.

"We had hoped by this time to show
you a print of the photograph taken
earlier in the evening, but the nega-
tive was overexposed and it is now be-
ing reduced so that we may get a
print."

He Laughs Best Who —

That was the signal for the mirth.
Those who before had been skeptical
about any picture having been taken
now were confirmed in their view they
were being gently "kidded." They
saw for themselves later, however, the
photographer had failed to take into
account the added strength of the
lights on the stage — and it had been
these that caused the trouble, really
overexposure.

Seriously, the speaker said, the men
associated with the Eastman company
were very proud of the new film. It
had seemed fitt
announcement s

the group he then was addressing,
"because in your hands very largely
rests the responsibility for its success,
you who represent companies spend-
ing millions of dollars annually in the
making of pictures."

Mr. Curtis spoke of the close con-
tact maintained between the sales and
office organizations of J. E. Brulatour
and the home office of the Eastman
company and said the problems which
by his hearers are put up to Holly-
wood are in turn handed on to Roches-
ter.

Origin and Quality

"There is just one thing more I want
to say," said the speaker, "and that
is no matter how superior the film
may be the quality on the screen de-
pends first on the man behind the
camera and second on the man in the
laboratory. We know in your hands

it will receive the treatment that will
bring out the supreme quality in the
film."

Following reading of telegrams of
congratulation from President Stuber
of the Eastman Company, Jules E.
Brulatour, and Business Representa-
tive Howard E. Hurd of the Interna-
tional Photographers, who with Vice-
President Roy Klaffki and John Boyle
was in New York, Mr. Curtis intro-
duced Emery Huse, director of the
Eastman West Coast research labora-
tories, as the speaker of the evening.
A summary of Mr. Huse's speech fol-
lows this article.

Those who sent acceptance cards to
the dinner were:

J. A. Ball
Art Lloyd
J. O. Taylor
W. L. Griffin
Homer A. Scott
G. B. Meehan, Jr.
Charles P. Boyle
Chester A. Lyons
Daniel B. Clark
Ernest F. Smith
J. P. Whalen
W. H. Dietz
J. A. Valentine
W. T. Sullivan
Frank B. Good
W. A. Sickner
Eddie Linden
J. B. Shackelford
N. F. Brodine
Friend F. Baker
J. C. Smith
F. M^Blackwell
ing, he said, that the\i" Arthur ReevesT>K(
hould be made first to Pftr-OT^Birrgef

H. A. Anderson '
Sam Hess
Ted Tetzlaff
Milton M. Moore
Gordon Jennings
J. B. Walker
Sid Hickox
Oren W. Roberts
Charles Marshall
Elmer G. Dyer
W. H. Daniels
Peter B. Steele
Roy Kluver
S. E. Greenwald
Blaine Walker
David Abel
Lloyd Knechtel
Arthur Edeson
Leo Tover
Gus Peterson
Harry W. Forbes
H. C. McClung
A. M. Davey

E. L. Pilkington
R. S. Newhard

F. B. Heisler
Russell A. Cully
H. J. Kirkpatrick
C. J. Bigelow

C. G. Clarke
Walter Lundin
Frank Redman
Arthur Smith
J. T. Brown, Jr.
Ben Reynolds
Irvin Roberts
Alfred L Gilks

F. R. Eldredge
W. W. Nobles
W. H. Greene
Ali Stark
Edwin B. Hesser
R. F. Overbaugh
William C. Hyer
Glen Gano

C. C. Baldridge
Kenneth Peach
John F. Seitz
J. R. Herman
Harry A. Zech
Donald B. Keyes
Abe Scholtz
Stanley Gifford
L. G. Wilky

G. H. Robinson
E. J. Cohen

J. F. Westerberg
Raymond C. Ries
Dr. G. F. Jackman
Jack Stevens
James Diamond
George Stevens
Lee D. Garmes
R. B. Kurrle
A. C. Miller
Elgin Lessley
John Hilliard
L. M. Smith
William Wheeler
G. R. Kershner

March, 1931

The INTERNATIONAL PHOTOGRAPHER

Five

Allen C. Jones
Jerome H. Ash
Paul H. Allen
Sol Halprin
L. T. Galezio
Ray Wilkinson
Paul P. Perry
W. G. Thompson
John Arnold
Sol Polito
John J. Mescall
Jules Cronjager
William V. Skall
Virgil Miller
Mack Stengler
W. H. Tuers
Gil Warrenton
W. L. Marshall
Paul G. Hill
Ira B. Hoke
Ernest Miller
Dewey Wrigley
Pliny W. Home
Jack R. Young
Barney McGill
Tony G. Gaudio
E. t. Estabrook
Harry Jackson
Raider B. Olson
R. E. Lyons
Faxon M. Dean

Harry Perry
V. L. Walker
R. B. Staub
Frank Cootz
Charles Rosher
Paul E. Eagler
Roy Davidge
Hal Hall
Fred W. Gage
Harris Ensign
Charles Levin
Alvin Wyckoff
George Blaisdell
C. Roy Hunter
Fred Jackman
Len Powers
H. N. Kohler
J. A. Dubray
G. MacWilliams
Charles Stumar
E. J. Snyder
Earl R. Hinds
Ira H. Morgan
J. E. Tucker
Irving G. Ries
Harold Lipstein
John F. Hickson
R. V. Doran
Wiliam A. Rees
Lenwood Abbott
Ernest Palmer
Jackson Rose
Arthur L. Todd

W. E. Fildew
Theo Sullivan
Rex L. Wimpy
H. Knollmiller
R. B. Nichol
John S. Stumar
Joe J. Novak
Ben H. Kline
L. L. Lancaster
Robert M. Pierce
Frank H. Booth
Wilson Leahy
Eddie Kull
Jack Fuqua
W. C. Thompson
Perry Evans
F. E. Larkin
J. M. Nickelaus
Mike Leshing
T. M. Ingman
A. J. Guerin
Joseph Aller
Ray Mammes
Park J. Ries
C. E. Van Engler
Harry Gant
Dodge Dunning
Ted McCord
M. B. DuPont
C. M. Downer
Edwin O'Connell
C. S. Piper
Harry Vallejo

Bill Eglinton
Frank M. Cotner
Victor Milner
L. W. Physioc
E. S. Depew
Roy Purdon
H. F. Koenekamp
R. E. Yarger
Dev Jennings
W. V. Kelley
Nick Musuraca
J. W. Howe
Leon Shamroy
Percy Hilburn
Arthur Martinelli
Paul Lang
H. L. Broening
C. E. Schoenbaum
George Seid
Jake Badaracco
Farciot Edouart
Ray Rennahan
J. H. August
Henry Goldfarb
Otto Himm
G. Schneiderman
George Crane
Andre Barlatier
J. C. Van Trees
Harold Rosson
Milton Cohen
Karl Freund
W. Crespinel

Eastman Super Sensitive Panchromatic Type Two —
Motion Picture Film

By EMERY HUSE and GORDON A. CHAMBERS

West Coast Division — Motion Picture Film Department

Eastman Kodak Company

ON February 5, 1931, the East-
man Kodak Company announced
to the motion picture trade in
Hollywood its new super sensitive
panchromatic type two motion picture
negative film. Inasmuch as this film
exhibits characteristics not hitherto
shown in motion picture negative
emulsions it was considered advisable
to present some data pertaining to
those characteristics.

This article is not presented as a
complete technical treatise of the
characteristics of the super sensitive
film, its aim being to call attention
briefly and simply to the differences
this super sensitive film exhibits over
the present type of panchromatic
films.

As the name super sensitive im-
plies, this emulsion is extremely fast,
but because of its name this new film
must in no way be confused with a
hypersensitized film. In the past
when an emulsion of extreme speed
was desired, either for color photog-
raphy, filter shots or trick work, it
was customary to especially treat the
film with some type of sensitizing
bath.

This bath caused a general increase
in the emulsion speed and particularly
increased the red light speed. How-
ever, the hypersensitized film had cer-
tain disadvantages such as its cost,
its lack of keeping qualities, and its
propensity to produce fog. With the
super sensitive type two these disad-
vantages are entirely overcome.

The increased speed of the super
sensitive film has been accomplished
during the course of the emulsion

manufacture. It is sufficient to say,
therefore, that the super sensitive
film is not a hypersensitized film.
Furthermore, the super sensitive film
exhibits the same keeping qualities
and shows identical physical charac-
teristics as those shown by the pres-
ent panchromatic films.

Greatly Increased Speed

A complete study of any type of
film emulsion is best accomplished by
making both sensitometric and prac-
tical camera tests. This article will
not deal in any detail with camera
tests but will consider in some detail
the sensitometric characteristics oi
the super sensitive emulsion as com-
pared with the present type of pan-
chromatic film.

The point of major importance in
the consideration of the super sensi-
tive film pertains to its greatly in-
creased speed. The data obtained
sensitometrically can be and have
been checked by camera exposures.

Sensitometry involves a study of
known values of exposure as related
to the amount of silver (density)
which these exposures produce upon
the film after development. The
standard sensitometric curve is there-
fore one in which is shown the rela-
tionship between exposure (expressed
logarithmically"1 and the densities
produced. It is from curves of this
type that the sensitometric character-
istics of the films under investigation
have been studied.

Another important consideration in
studying the speed of the super sensi-
tive film necessitates a study of the

quality of the light sources to which
this film is exposed. For that purpose
sensitometric tests have been made to
daylight and to tungsten.

Inasmuch as the mode of testing an
emulsion to any light source is prac-
tically identical we shall for the sake
of brevity and clarity consider only
the curves obtained by exposure to
tungsten.

Defining Speed

Figure 1 shows the sensitivity
curve of the present and super sensi-
tive type of film for tungsten expos-
ures developed for a fixed time, nine
minutes in a standard borax devel-
oper. It will be observed that the
supersensitive curve lies above the
curve for the present type of film,
and the separation of these curves
gives an indication of the speed dif-
ference existing between the two
films.

In making a numerical estimate of
the speed we do not consider the
actual density values produced for a
given exposure. The customary
method is to deduce speed from the
exposure value obtained at the point
where the straight line portions of
these sensitivity curves, extended, in-
tersect the exposure axis.

Speed is usually defined by the fol-
lowing formula:
1

X C =: Speed,

i
where i, the inertia, is the exposure
value of the intersection point and C
is an arbitrarily chosen constant. For
the curves shown in Figure 1 we find
that the speed of the super sensitive
film, as represented by curve No. 2,
is three times that for the present
type films. Identical tests made to
daylight show that the super sensi-
tive film is twice the speed of the
present type.

With reference to Figure 1 atten-
tion should be called to the marked
difference in the low exposure region,
that is in the toe of the H and D
curve. In this region the super sen-
sitive film definitely differentiates be-
tween exposures of very low intensi-
ties.

Particular reference is made to the
exposure region to the left of the
relative log exposure value of 0.3.
Tungsten Speed Greater

The cause for the difference in
relative speeds between the two types
of films to tungsten and to daylight,
or to any other source, is entirely de-
pendent upon the color distribution
of light from the source and its effect
upon the color sensitivity of the emul-
sion.

It is generally known that tungsten,
for example, contains a greater pro-

EXP0SURE : TOMGSTEN

S Min. in Borax

i. Present Films

z. Super Sensitive Film

"Relative Log E

o.o oS oS 55 Ti is i* u S» TT

Figure 1

Six

The INTERNATIONAL PHOTOGRAPHER

March, 1931

portion of red light than does day-
light, and the difference in speed of
the two films indicates that the super
sensitive film must possess greater
sensitivity to red light than the pres-
ent type of film.

It is mainly for this reason that the
tungsten speed of the super sensitive
when compared to the present type
of film is greater than for a similar
comparison to daylight.

The difference in color sensitivity
of the two types of films is shown in
Figure 2. This figure shows prints
of spectrograms of the two types of
film when exposed to tungsten. Speed
comparisons should not be drawn
from these prints as the prints are
so made to show the regions of the
spectrum to which each emulsion is
sensitive.

The figures given represent wave
lengths, and beginning at 40 in the
blue violet region we have increasing
wave lengths through the blue violet,
blue, green, yellow, and orange as far
as the deep red given at a wave
length of 68 microns.

The super sensitive film shows an
increased concentration of sensitivity
in the region around 64 microns. The
super sensitive film confines its sensi-
tivity to the definitely visible portion
of the red end of the spectrum, while
the present type of films shows an
extension into the deep red and en-
croaches upon the near infra-red re-
gion.

This concentration of visible red
sensitivity gives a marked advantage
to the super sensitive as it is the ex-
tension of red sensitivity into the re-
gion of longer wave lengths which is
a contributory factor in the produc-
tion of chalky highlights under tung-
sten illumination. This is eliminated
to a marked degree with the super
sensitive film.

A complete study of an emulsion's
sensitivity to color necessitates actual
speed measurements to the three ma-
jor portions of the visible spectrum,
namely to blue, to green, and to red
light. For the purpose of obtaining
such information actual speed tests,
similar to those shown in Figure 1
and later verified by practical expo-
sure, were made to daylight through
the No. 49 (blue), 58 (green), and
25 (red) filters.

Speed values determined from such

tests show that the super sensitive
film has 75 per cent greater speed to
the blue, 200 per cent greater for the
green, and from 400 to 500 per cent
greater for the red exposures.

Such sensitivity naturally lends to
a better and more intelligent use of
filters, either for straight photog-
raphy or for trick work.

Increased Speed

Another important consideration in
the comparison of present and super
sensitive film pertains to contrast and
the rendering of shadow detail and
softer highlights. Figure 3 shows for
tungsten exposures the difference in
time of development between the two
types of film to produce equal degrees
of contrast (gamma).

These curves are of equal gamma
and the data contained shows that it
was necessary to develop the super
sensitive film three-quarters of a min-
ute longer to produce this effect.

Furthermore, greater density is
picked up in the low exposure region.
This is mostly accounted for b,r the
increased speed of the super sensitive
emulsion, but it is this ability to pick
up and differentiate between these
low intensities which gives the high
order of shadow detail rendering
which is shown by this super sensi-
tive emulsion.

On the other hand, in the region
of high exposures it will be observed
that the super sensitive film shows a
tendency to break into a shoulder,
while the present film continues as a
straight line. This is at least true
for the series of exposures shown in
the figure. This break into a shoulder
lends to softer highlight rendering
and still permits of very definitely
separating highlight intensities and
thus produces details in this region.

Figure 4 shows in much more de-
tail the relationship existing between
contrast (gamma) and time of devel-
opment. These curves, made from
exposures to tungsten, represent
what are commonly referred to as
time-gamma curves and they show
the rate at which gamma builds up
with increasing time of development.

The rate of increase of contrast
with increased development time is
appreciably less for the supersensitive
film, as will be shown by a study of
the curves in Figure 4.

This means that in the handling of

Tungsten

Hi ■TOwjiillhli

1 , 44

;,i.iii,H;k! i,.

1 8)*l

IllllH

Present Films

^mmmm^^^mm

m&mm^^+u*

. . - .-■■.A..

| «atIC&677

MSi'iilii'ldim

iiiiiL

1 64 (1

Exposure

Tungsten

12
1 0
08

>
l-

Development:
i sMin. in Borax
2 S»A(

K^\-^^

i Tresent Films

z Supersensitive Film

"Relative Log E

0.0 OS 0.0 0.9 12 IS l» 2.1

Figure J

the film during development there is
relatively little chance of either un-
der or over developing. Errors of
the order of 25 per cent in develop-
ment time will have a much less
marked effect on the super sensitive
film.

In other words the super sensitive
film gives to the laboratory man that
one thing which is so important to
him and which is colloquially referred
to as "development latitude."

There is just one caution which
should be mentioned at this time. Due

i "Present Films

2 Super Sensitive Film

a a It 15 18 zi
Minutes in Boyax

Super Sensitive Film
Figure 2

figure U

to the increased sensitivity of this
emulsion, the handling of this film
cannot be successfully accomplished
unless the illumination from the pres-
ent safelights is reduced appreciably.
The ideal condition under which to
handle this film would be total dark-
ness, and no doubt this condition will
prevail inasmuch as many camera
loading rooms and laboratories which
process negative on machines now
operate in almost, if not total, dark-
ness.

It is felt, therefore, that this will
not work any great hardship on the
laboratory. However, this word of
caution is considered necessary be-
cause of the greater increased speed
both to white and to colored light of
the super sensitive emulsion.

What Super Sensitive Does

It is felt that a summary of the
outstanding features of the super
sensitive film will bear repeating.

1 — Super sensitive film is twice as
fast to daylight and three times as
fast to tungsten light as the present
type panchromatic films.

2— Super sensitive film shows 75
per cent more speed to blue light, 200
per cent more to green light, and
from 400 to 500 per cent more to red
light.

3 — Super sensitive film exhibits an
appreciably softer characteristic than
present films. For the same time of
development the super sensitive film
gives lower gammas. This makes it
advisable to develop the super sensi-
tive film longer if the same degree of
contrast as now accepted is still de-
sired.

4 — Super sensitive film must be
handled at a much reduced light in-
tensity in the dark rooms.

March, 19J1

The INTERNATIONAL PHOTOGRAPHER

Seven

Radio Pictures Using Safe Device
in Place of Ramshackle Parallels

A NEW-FANGLED portable mo-
tor-driven parallel or camera
platform is now in use at the
Radio studio in Gower street. It is
the design of W. V. Johnson , the
studio electrical chief.

The parallel consists of three plat-
forms which fold one into another.
These are extended by means of an
electric motor or gas engine fastened
to the chassis. Through a reduction
gear with a ratio of 100 to 1 the
apparatus unfolds like a telescope.

The tower has been strongly built,
so much so that twelve men and four
cameras may be carried with entire
safety. Both sets of wheels are steer-
able allowing for moving the tower in
any desired direction without loss of
time. This factor makes the new
equipment of particular value in out-
door work.

Cameramen have been especially
interested in Johnson's contribution
to the safety of photographers. For
so many years at times they have
been expected by callous directors to
mount rickety parallels placed with

entire disregard of safety to life and
limb that they are bound to welcome
any device that will lessen risks heavy
enough under the best of circum-
stances.

When the Film the Builder
Rejected Proves Funnier
Than Scenario Anticipated

FOR the entertainment of studio
guests as well as players Mack
Sennett has had compiled a print en-
titled "Mistakes." Few scenes are re-
corded as the director would have
them until they have been rehearsed
several times. Then as a rule some-
one in the sequence will slip on his
lines with the result the scene has to
be begun all over again. This, of
course, is in order to assure unbroken
continuity when the finished product
reaches the screen.

It sometimes happens a player will
develop particular difficulty in utter-
ing or remembering a certain line
in the exact order in which for story
purposes the powers that be have

decided must be the rule. Generally
when a player has stumbled two or
three times on the same trap his pa-
tience is somewhat frayed — if he does
not experience a humiliated feeling"
each time a slip comes the director
calls a halt it is something very close
to it.

Under these circumstances a player
usually is as frank in expressing his
sentiments as it is possible for one
human to bs. Not always is his lan-
guage pol'te. Far from that. Explosive
it is sure to be. The women are as.
prone to declare themselves as the
men when they find they have stopped
the show — and often with entire un-
concern as to surroundings — with
post mortem results that in their
cases are even funnier than those of
the men.

So the producer delegated one of
his cutters to look over his specimens,
of "the face on the cutting room
floor" and see what could be assem-
bled.

Even to the stranger who knows,
nothing about the picture that had
been in the making or even the iden-
tity of the players affected the
screened contretemps frequently are
responsible for more mirth than the
approved completed comedy could
have been.

Portable motor driven parallel or camera platform designed by W. V. Johnson, electrical chief at Radio studio, shoiv-
ing it in collapsed form at left and fully extended on the right. Inset, Chief Johnson.

The INTERNATIONAL PHOTOGRAPHER

March, 1931

»r##*'¥f*'*#'*1*'

*** ^^mm^f^t-^-%

*>+*.

Pf^ith Shackelford
in Gobi's Desert

By JAMES SHACKELFORD

IN my four trips with the Roy Chapmar
Andrews expeditions I have covered ove
25,000 miles in Asia. Our outfit usually con
sisted of 125 camels, eight motor cars and abou
forty men, the latter including, besides the regu
lar staff, a crew of twelve to sixteen Mongo
camel men and about the same number of Chi
nese servants and helpers.

The camel caravan provided our movable bast
and carried food for the men and gasoline, tires
and extra parts for the motor cars. After mak
ing contact with the caravan and taking off sup
plies to last us for three or four weeks, and whil<
we were exploring an area of from 50 to 20(
square miles, our camels would move on to a pre
determined spot.

We were able to cover as much distance in ;
day with the cars as our camels would do in i
week, depending of course upon the topography o
the country. Our caravan might travel in a direc
line, whereas our cars might have to detour man;
miles, and at times we were forced to leave th<
cars and use the camels on side trips in countr;
impassable even for a horse.

Outside of fresh meat we not only had to earn
all our food, but enough to last from four to si)
months. On some of our trips we were out o
communication with the outside world for month;
at a time. Once in the Alashan desert wher
camped along the route of Marco Polo we sen
out mail by Sven Hedin's caravan as it was re
(Continued on Page 24)

March, 1931

The INTERNATIONAL PHOTOGRAPHER

Nine

Story of the Pictures

t panel, reading down — Our farthermost camp on the

thwestern edge of the Gobi, 1200 miles from Peking,
camped on this lake for several weeks and found a

inge kind of fi;h here that used to come up out of the
;er at night and feed among the rocks along the shore —
[ camel caravan arriving at the Flaming Cliffs in the

ley of Shabrach Uau where the 10,000,000 year old
osaur eggs were found and incidentally it was in this
key where we discovered the "Dune Dweller," a primitive
E living in this spot 20,000 years ago. — Our camels cross-
ing the sand dunes on their way to water.

jht panel — Our camel caravan resting in the sand dunes.
\ elevation here is over 7000 feet and the Altai mountains
jthe background rise to a height of over 14,000. — On our
t day up after leaving the end of the railroad we were
ompanied by the American Minister to China, and as we
re passing through country controlled by bandits the
Inese authorities insisted upon a military escort. In the
tance can be seen the old watch towers, outposts of the
,>at Wall of China, built over 2000 years ago, which were
<1 as signal posts to convey information cf the approach
Tartar enemies from the north. — At a meeting place with
caravan where we took off supplies, showing part of one
'our camps. The boxes are numbered and contents cata-
,ued. The T-shaped units are cases of gasoline, six cases
of ten gallons each making a camel load.

wer — Left : After a season in the Gobi our motor cars
'sing a small Chinese walled city on the return to Peking.
!st Chinese towns are walled to keep out the brigands, the
)es being closed at sunset and opened at sunrise. Right :
jdesert steed. This is the BactKan or double humped
pel which often grows to an enormous size. It is capable
carrying half a ton for limited distances amd will
carry a quarter of a ton on long treks.

•per — Left : The last outpost, a day by motor car from
j end of the railroad. This telegraph station is on the
lil between Urga and Peking. Urga is the capital of Mon-
|ia. Right, a typical Mongol habitation. The full grown
the flock? are kept in the stone corral and the young are
it in the yurts or felt tents at night, the animals sleeping
on cne side of the yurt and the native? on the other.

mm \ mm

Ten

The INTERNATIONAL PHOTOGRAPHER

March, 1931

Looking In on Just a Few New Ones

CITY LIGHTS

Rollie T other oh, Cameraman

HAVING in mind the fact that
Charles Chaplin spent more
than two years in the making
of "City Lights" and in view of a re-
mark he made to the first night audi-
ence at the new Los Angeles Theatre
opening it would seem that off the
screen as well as on it he still is the
premier comedian. He had just been
presented to the house by Conrad
Nagle, who in closing had made refer-
ence to the player's inexhaustible
imagination and perfect technique.

"I thank you for your appreciation,"
the speaker responded when he could
make his voice heard. "You know if
I had had a little more time I would
have tried to make 'City Lights' a bet-
ter picture."

Nevertheless it had been a pretty
good picture at that. Chaplin's fol-
lowers have not been trained to ex-
pect so much in the way of a plot.
They want one thing above all else —
and that's Chaplin.

Paraphrasing the old-time miner
who declared there was no bad
whisky, although of course some
whisky was better than others, legions
of picturegoers will testify that there
is no such thing as a bad Chaplin.
Of course, some are better than
others.

"City Lights" will not qualify as
the comedian's best or greatest, but
it will serve.

So far as concerns the matter of no

By GEORGE BLAISDELL

dialogue, the subject as a maker or
unmaker of precedents is without
value. What the trade as a whole
may have overlooked is that what
Chaplin does cannot with safety be
construed as a criterion in charting
the course of any other actor, male
or female.

If any doubt existed on this point,
the remarks uttered by actors and
producers before the microphone in
front of the theatre that evening-
would have resolved it. And when an
actor concedes quality to another
actor, he pretty near means it.
Chaplin's first position not only was
admitted but emphasized.

To see Chaplin again on the screen
is like the homecoming of a long-
absent friend. One chuckles and
laughs, even breaks right out and lets
go regardless of the painfully sedate
neighbor unable to understand how
such an absurdity could cause such an
explosion.

All of the famous mannerisms are
here and also some of the old tricks.
There's one where a whistle is lodged
in his throat, to the great annoyance
of the speaker of the moment.

There was real mirth on the part
of the first night house, one made up
almost entirely from the trade, when
in perfect synchronization with the
lips of a woman speaker there came
a series of squeaks reminiscent of the

product of an exceedingly defective
recording or reproducing system.

The occasion was the unveiling of a
figure of Justice, and the same rule
was the order when Henry Bergman,
as orator of the day, also began his
speech. It was the first laugh of the
picture; no further chiding of the
talkers was indulged in.

The second came when the come-
dian, in getting down out of the lap
of the goddess, where he had been
"carrying the banner," fell afoul of
the sword of justice and was speared
from stern to stem, thereby being un-
able uninterruptedly to maintain his
footing and stand at attention out of
respect to the national air.

Chaplin gave full recognition to
other players in according opportuni-
ties. Harry Myers, as the million-
aire who when drunk was unable to
do enough to display his regard for
the tramp but who when sober re-
fused to recognize him, contributed
much to the fun.

Virginia Cherrill won the admira-
tion of the house right from the start.
As the blind girl she was most effec-
tive. In the short dramatic sequences
she had her full share of the stage,
especially in the concluding scenes.

Here the tramp, at the lowest ebb
of his fortunes, discovers in a flower
store the girl he had helped, now able
to see. It is a strong situation, with
the girl unaware of the identity of
the benefactor she had believed
wealthy.

Others in the cast are Florence Lee
as the grandmother, Allen Garcia as
the butler and Hank Mann as the
prizefighter.

Chaplin was assisted in his direc-
tion of the picture by Henry Bergman,
Albert Austin and Harry Crocker.

Maurice Kains slips into the desert and north of Palmdale snaps this shot of,

a joshua tree group

LIGHTNIN' (FOX)

Chet Lyons, Cameraman

IF the Fox company continues in
future to display in the choice of
Will Rogers' stories the same ex-
cellent judgment it has shown in the
recent past it would seem that but one
result will be possible: the lifting of
this busy man from Oklahoma into
the front rank of screen attractions.

Indeed, considering his newspaper
work and his radio talks as well as
other activities in conjunction with
pictures it would be difficult to name
a person who will match him in the
number of Americans with whom he
establishes contact.

"Lightnin'," recently released by
the Fox company, will go far to in-
trench Rogers in the hearts of his ad-
mirers. While Frank Bacon wrote the
play with himself in mind as Bill
Jones he might well have been think-
ing of Rogers mellowed by a dozen
years of added experience with the
world.

Certainly it is a whimsical, tender
interpretation the humorist gives us
of the shiftless husband of the go-

March, 1931

The INTERNATIONAL PHOTOGRAPHER

Eleven

getting- head of the hotel on the bor-
der line of California and Nevada.
Rogers not only soft-pedals on the
drinking proclivities of Bill Jones; be-
yond a single instance in which he
surreptitiously corrals an unguarded
bottle and untouched so far as he is
concerned slips it into his pocket
there is no evidence he knows the
taste of liquor.

While the screen abstention will
result in less robust fun for the world-
ly minded there is no question the
producer or whoever is responsible for
the policy adopted displayed the part
of discretion. Probably Rogers him-
self had much to say about the mat-
ter.

Louise Dresser shares honors with
the star. She is one woman player
who always seems more concerned
about playing the part as its designers
intended rather than sacrificing the
characterization in order she may
"look pretty."

Helen Cohan is the charming daugh-
ter of the Joneses and well plays her
part. Joel McCrea is John Marvin,
the law student and mentor of Bill in
his fight to hang on to his property.
McCrea acquits himself most credit-
ably.

One young man who will create at-
tention is he who is cast as the hus-
band of the divorcee and who follows
her west to induce her to change her
mind. His front elevation would seem
to indicate favorable attention. Ref-
erence is to Rex Bell, not unknown to
casual first page mention recently as
the friend of one also not unknown
to regular first page mention. After
seeing the boy the fondness for him of
the first-page girl is quite under-
standable.

Then there are J. M. Kerrigan as
Lem Townsend, a judicial judge even
as he seems to be versed in the ways
of the lover; Jason Robards as
Thomas, an unscrupulous lawyer;
Ruth Warren as Margaret Davis, who
upsets the court or rather the specta-
tors by reminding the judge of a thing
or two; Frank Campeau as the sheriff;
and Luke Cosgrave as an attache of
the hotel.

Henry King directed with fine skill
and judgment a picture that ranks
high in entertainment qualities with
a sequence at the end that steps
quickly from the realm of comedy-
drama to straight drama of the stern
variety — and to the possible accom-
paniment of a lump in the throat.

THE DEVIL TO PAY

George Barnes and Gregg Toland
Cameramen

DELIGHTFUL is the word indi-
cated in speaking of Ronald
Colman's "The Devil to Pay,"
produced by Sam Goldwyn and shown
during February at the United Art-
ists Theatre in Los Angeles. If the
dialogue as well as the story Fredrick
Lonsdale here gives us is a fair speci-
men of English humor then indeed
has that particular something been
scandalously maligned in the past.
And it must be added that if Bar-
ney Glazer, who adapted the work for
the screen, did nothing to enhance the

humor — which is unlikely — then he
had the unprecedented motion picture
discretion and courage to leave it
alone.

The whole tale sparkles to the eye
and crackles to the ear. It is sophisti-
cated classicism that the lower order
of wisecracker will "get the first
time," even as he marvels at his own
unexpected perspicacity in grasping
these "fast ones" of the erudite.

It is a new Colman that will be
noted by those who for one reason or
another have not seen him in recent
years. He has grown marvelously in
his elasticity, in his adaptability to
lighter, even frolicsome, roles — and
"The Devil to Pay" in many ways
is a continued frolic.

There's drama, too, interspersed in
the story — surely enough serious stuff
of the kind that gives birth to sus-
pense— but the characterization of
Colman runs true to form, the audi-
tor speedily is lifted out of the uneasy
chair and again is in holiday mood.

Several players notably share the
honors with Colman. One whose
portrayal is outstanding is Frederick
Kerr, who draws for us the part of
Lord Leeland, father of irresponsible
Willie Hale, the likable ne'er-do-well
at the top of the cast. He's just
simply great, that's all, as any man
who ever had a son or hoped to have
one very likely will agree.

The women bulk heavily in this
story. Loretta Young has the part
of Dorothy Hope, who falls in love
with Willie when she first meets him
on the morning preceding the even-
ing when her engagement otherwise
is to be announced formally.

Florence Britton is seen as Willie's
sister, who, like her own father, is
fond of Dorothy and does nothing

to hinder the furthering of the new
acquaintance. Myrna Loy is Mary
Cragle, reputable actress friend of
Willie who breathes dire things
against any one even threatening to
come between them. David Torrence
is the almost irreconcilable father of
Dorothy. These and others are most
creditably chosen for their appointed
work.

George Fitzmaurice directs this
story of English life— and does it
with such finesse that the average
American will emerge from under it
without experiencing the feeling that
somehow the King's English must be
a foreign tongue. In this connection
Ivan Simpson is credited as dialogue
coach.

Richard Day is art director— and
his department is an added factor of
merit in the production.

TRADER HORN

Clyde De Vinna, Cameraman

FOR the second time at least in
recent years the Metro organiza-
tion has gambled in a big way on
its judgment as to the inherent pic-
ture qualities in a story. The first
instance was "The Four Horsemen."
The second is "Trader Horn."

The late Marcus Loew publicly made
the statement more than once that
his theatre organization was all set
to throw Metro Pictures overboard
as an impossible investment when the
decision was reversed following the
phenomenal success of "The Four
Horsemen."

If during the mild furore over the
story of old man Trader Horn there
was any wild bidding on the part of
producers to secure the screen rights

(Continued on Page 36)

Here is what Mr. Kains describes as a Grandfather Joshua, photographed in
the same colony as was its companion picture

Twelve

The INTERNATIONAL PHOTOGRAPHER

March, 1931

era

IRA HOKE

Whatta Whopper

A certain movie star we know jok-
ingly gives this as her definition of a
press agent.

"A press agent," says she, "is a
smart Hollywood boy who can take a
fragment of truth and make a large
convincing lie."

Gentlemanly Profession

Tillie — Pappa is immensely glad to
hear that you are a cameraman.

Maury (proudly) — Is he?

Tillie— Oh, very! The last of my
boy friends he tried to throw out was
an amateur boxer.

Hold 'Er Newt

Hatto Tappenbeck, who recently
photographed Europe from Aberdeen
to Zossen for Fox News, says their
propertyman once imbibed too freely
of Tuscany wine and then kept his
shoulder against the Leaning Tower
of Pisa all night to keep it from top-
pling over.

Ain't Love Grand?

Bob McLaren — Why does a red-
headed woman always marry a meek
man?

Bob Bronner — She doesn't. He just
gets that way.

A Sure Thing

Art Reed says a chorus girl who
lives in his block is in love with the
postman, so she writes herself a note
every day to make sure he will call on
her.

Police 11 pholster Wagon

News item: During the parade on
Hollywood Boulevard one of the cov-
ered wagons was lost, but was later
recovered by the police.

Another Amendment

A certain druggist we know who
has been selling whisky and gin since
1920 was arrested last week for using
oleomargarine on his soda fountain
sandwiches.

Sound Department Notice

First Negative Developer — My as-
sistant whistles while he works.

Second Negative Developer — You're
lucky. Mine only whistles.

100 Percent I. A.

Henry Prautsch was waiting in
the living room of his girl's home the
other evening while the sweet young

thing was completing her hairdress-
ing, etc., etc. Henry, to pass the
time, engaged her kid brother in con-
versation.

Henry — Is Betty vour eldest sis-
ter?

Kid Brother — Yep.

Henry — And who comes after her?

Kid Brother — You and a Lab man
and an Electrician.

Better Late Than Never

Fresh Assistant (to second cam-
eraman)— I suppose the boss was an-
noyed when you told him I was leav-
ing next week?

Second Cameraman — I'll say he
was. He thought it was this week.

Sign of the Times

Sign on collegiate auto: "Drive
Slow. Death is so Permanent."

Slightly Diffused

Hon. Howard Hurd,
Business Representative,
Location 659.
Hon. Sir & Dear Brother:

To day I make terrible un-focus
of scenery being shot by my Hon.
first cameraman. I am very first
class Japanese asst. & affection
my position greatly and my dis-
heartening is immense in this un-
focus accident. I am opinion dis-
aster was causing by my unworthy
eyes being distracted from lens
mounting marks by very beautiful
ladies in chorus short skirts being
kicked high by dancing.

As full payment membership in
Location 659 Union with four
stamps in green book in my pants
pocket, I make unworthy but hear-
tily plea to Hon. Bus. Rep. to
please introduce new rule to com-
pel chorus ladies to wearing blue
overalls like cowboys, so camera
assts. with green cards do not mis-
focus scenery of camera. I am
certainly producers will welcome
this new law as because blue over-
alls are much cheaper than silk
stocking and last very many times
longer.

My Hon. first cameraman is con-
siderably angry with me becaus-
ing of misfocused scenery. Hop-
ing you are same I remain,

I. Cheekee Koko.

Suppose Again

Cameraman — Jimmie, go and fetch
the oldest camera in the vault for
this test.

Assistant — Why the oldest one,
Boss?

Cameraman — Wear out the old
ones first. That's my motto.

Assistant — Well, Boss; then sup-
pose you fetch the camera.

Whatta Lotta Nerve

Cameraman — You just had two
weeks between pictures. Why do you
wish the day off tomorrow?

Assistant — Well, you see, boss, I
met a girl last week and we had
planned to get married tomorrow, and
I would kinda like to be there.

A Born Diplomat

Cutter Girl— How old do you think
I am?

Cameraman — You don't look it.

These Hard Times

Jimmy the assistant says there are
only twelve months of the year in
which it is unlucky to get married.

Gold Digger

A chorus girl can't always live on
the salary she gets, but it helps a lot.

Paris Has Rental Studio

Trade Commissioner George R.
Canty of Paris reports that at La
Garenne, just outside Paris, a new
sound-film studio has been opened,
which is to be rented to producers. It
is insulated by an American (Ban-
roc) system, and equipped with Pe-
tersen-Poulsen sound recorders.

So the Deaf May Hear

Three more theatres have con-
tracted for the installation of West-
ern Electric audiphones to aid the
hard of hearing to enjoy talking pic-
tures. They are the Million Dollar
Theatre, Los Angeles; the National
Theatre, Louisville, and the Fox Wil-
shire Theatre in Los Angeles. Each
is being wired for thirty seats.

American Displaces Klang

According to certain reports Yugo-
slavia now has 31 wired houses in 21
cities. It may be noted that a Klang-
film set has been taken out of the
Europe Palace Kino, Zagreb, and re-
placed by an American set.

You'd Be Surprised

Laboratory Man — I hear that
Mamie, the cutter girl, is marrying
that X-ray photographer.

Sound Man — Oh, Yeah? What can
he see in her?

Ufa Expanding

Ufa has commenced the construc-
tion of a film copying institution to
complete its production plant in Neu-
babelsberg. This, it is stated, is only
the first step toward an important
extension of this plant.

<9*"fel

Qream oth Stills

c9*?L'°+

"Qitien sa
Grenbeaux j

'jibe?" ("Who knows?") asks this well-remembered character man of another decade when Paul
x just before transferring these striking features to a photographic plate asked a leading question

,***r'<v

'°6K,r

Qream oth Stills

.f-^'CU.

OCRN^

Up in the Yosemitc
Mack Elliott
shoots this brilliant
reproduction of
towering El
Capitan, its
frowning and sheer
walls reflecting
the rays of the
photographer's best
friend — Old Sol

William Grimes

shows us the Grand

Canyon, not only

those portions of

it near the

camera, but with

almost equal

clearness catches

the erosions at

the crest of the

gulch in the

far distance

»*"&*

"ocul*

@ream a t h S tills

C*t*L'°A,

Emmet t

Schoenbaum takes

pleasure in teasing

his fisherman

friends, the chasers

after trout, for

example. Here

is one of his

favorite irritators,

this view of Tioga

Lake at the

summit of

Tioga Pass

Otto Dya/r records

the slow
devastaton of
Father Time as he
found it in
Monumental Valley
— aided and abetted
by old man Water
as persistently
and inevitably
he keeps right on
seeking his level

tfO*

<l\r

(7, ream at ft Stills

^^L'Oa.

Here's one of the stately treasures brought out of Antelope Valley by Ned Van Buren. The artist special-
ises in desert stuff, of which fact this subject is an eloquent partisan in confirmation

March, 1931

The INTERNATIONAL PHOTOGRAPHER

Thirteen

New Universal Laboratory Opens

Half Million Dollar Structure Represents Two

Years Preparation and Contains Latest

Advances in Equipment

UNIVERSAL's half million dollar
two-story and basement labora-
tory, on the designing and con-
struction of which C. Roy Hunter and
his associates have labored for two
years, was formally opened February
16 for business. While not entirely
completed at that time, many of the
departments were functioning.

The structure as an institution
represents not only all the most ap-
proved appliances known to outside
laboratory progress but also the last
word in UniversaPs own advance in
a department of film work that for
years has been known as that stu-
dio's chief specialty. The laboratory,
which in itself covers an area 75 by
117 feet, really is three buildings in
one, as included in its operation and
joined to it are the camera and neg-
ative cutting departments.

Notable among these devices will
be the Hunter-Pierce developing ma-
chine. Of these there will be eight,
two rooms containing three each and

the third two, these latter of differ-
ent design. Any one of the six has a
capacity of 7500 feet hourly for ei-
ther positive or sound track and of
3500 feet hourly for negative. These
figures mean that each machine in a
full 24 hours would handle 180,000
feet of positive.

At the present time it is not
planned to crowd these machines, the
schedule calling for alternation of use
in this equipment, thereby allowing
full opportunity for maintaining the
highest degree of efficiency.

May Add Two Stories

Each machine is attended by one
man, with a foreman in charge of
each unit of three. Universal is not
at this time making release prints on
the studio lot. Provision has been
made in the laboratory's construction
plans so that if in the future there
may be a change of mind in this re-
spect two more stories may be added
without necessitating any structural

C. Roy Hunter

Universal' 8 new laboratory and its entire personnel

Fourteen

The INTERNATIONAL PHOTOGRAPHER

March, 1931

safety as well as convenience in the
handling of film has been incorporated
in the designs. Between the inspec-
tion room and the raw stock storage
vault, for instance, there are heavy
steel doors. The end of the vault op-
posite the entrance faces a funnel or
chute leading to the wide world. By
the side of the heavy door leading in-
to the vault is a breakaway card-
board door to the same outside in
case for any reason it be necessary
for some one to use it.

One of the features of the build-
ing's design is the avoidance of the
necessity or possibility of stacking
large quantities of film in work-
rooms. Full use is made of dumb-
waiters for conveying film from ons
department to another, with the rou-
tine so arranged the film never dou-
bles on its appointed track.

Another major factor in the lab-
oratory is the generating plant in the
basement which supplies juice for the
lights in the developing and printing
machines as well as for the illum-
ination of the structure. This plant is
powered by a Diesel motor. In the
rare event "anything should go wrong
with the Diesel the power automat-
ically is switched to an outside Ed-
ison" line. Against the most remote
contingency both of these simultane-
ously should be thrown out of oper-
ation there still remains for instant
use the studio generating plant on
which to call.

Company a Builder

In pursuing its policy of doing much
of its own manufacturing — the larger
part of the studio's reproducing
equipment for its own projection
rooms was made right on the lot —
the company has built besides the de-
veloping machines its optical print-
ers and special duping printer.

To prevent entrance of dust into
the structure the air conditioning and
refrigerating system in the basement

supplies a continual air pressure on
the exits.

On the main floor is a large recep-
tion room and secretarial office as
well as the office of the laboratory
chief. On the same floor are the op-
tical printer and trick departments,
three developing machine rooms, a re-
ceiving and shipping department and
the continuity room.

In this last named department are
prepared for the exchanges the exact
details entering into the photographic
action recorded on the film. A girl
sits at a typewriter placed in front
of a glass screen on which from be-
hind is projected the picture to be
described.

The operator not only sets forth
the details of the action, the partic-
ular sounds other than conversation,
with the exact language of the iden-
tified character, but also the length in
feet and frames of each sequence.
This data is useful to the exchanges
in ordering replacement of film and
also for the convenience of censors
in examining films. As a matter of
fact, the majority of censors require
copies of all dialogue. In the contin-
uity room, too, is done the translating
into various languages.

A Three-Way Screen

On the second floor are the print-
ing, assembling and testing rooms for
both positive and negative. There are
two reviewing rooms, the larger of
which is something of a novelty to a
lavman. Here a wide screen extends
across the end of the room. Opposite
each half of screen surface is a pro-
jector, one interlocked with the other.
Here two prints of the same picture
may be run at the same time, frame
for frame, so comparison between the
two may be made.

If it be desired to project a picture
on the full wide screen a center pro-
jector is geared for that purpose.

On this floor also is the film clean-
ing room, where are situated the pol-
ishing and waxing machines for neg-
ative. Here, too, are the edge num-
bering devices, something out of the
ordinary.

The air in the drying chamber is
automatically controlled to within a
single degree for both temperature
and humidity and the developing so-
lutions are maintained within a half
degree. A recording hydrometer keeps
close tabs on the situation at all
hours.

Robert Pierce, laboratory superin-
tendent and associated with Roy Hun-
ter in the development of film devices,
has his office on this floor. Here, too,
are the two Dupont processing ma-
chines for protecting the coating of
celluloid on sound pictures.

In the gamma room are conducted
all tests and checking of film for con-
sistency and sensitivity, etc. One of
the interesting machines in this room
is the Ybarrondo motion picture film
lightometer. What it will do is not
for a layman to describe — but it is
plenty.

In the basement are twenty-live
tanks ranging in capacity from 200 to
600 gallons. Three of the larger mix-
ing tanks are glass lined — but the
glass is burned into the metal. There
is a testing room for all chemicals.
Two large oil burning boilers supply
heat.

In the Diesel generator room one
of the walls is lined with remote con-
trol switches. Every known precau-
tion has been taken to avoid the pos-
sibility of creating a spark which has
not been properly introduced.

A passenger elevator automatically
operated contributes to the conveni-
ence of employes.

On March 16 of this year Mr. Hun-
ter will complete fifteen years in the
service of Universal.

At the left is the walkway between the Hunter-Pierce developing machines. In the center is the loading and receiving
end, and on the right is the return end showing the film travel from tank to dryer.

March, 1931

The INTERNATIONAL PHOTOGRAPHER

Fifteen

Faster Panchromatic Negative Film
Being Produced by Du Pont Pathe

THE Du Pont Pathe Film Manu-
facturing Corporation announces
a new high-speed panchromatic
negative. The product, according to
the official statement, retains the same
"color balance, fine grain and latitude
of the former negative, and the ex-
treme sensitivity allows a material re-
duction in lighting."

Dr. V. B. Sease, director of the Du
Pont Redpath Laboratory in the East,
remarked just prior to his return
home after a month's visit in Holly-
wood that the company long had
felt the industry would be better
off if it were required to employ less
lighting, not so much for the saving
of current, although that was an item,
but for the added comfort of the
workers on the stages.

It has been the objective of the
company, Dr. Sease said, to secure a
faster emulsion without changing
color balance, grain size or the lati-
tude which it had been felt was so de-
sirable in the negative.

Furthermore, the doctor said, the in-
crease in speed affected the camera-
man's factors only in so far as he was
required to adapt himself to new
levels, as he is working on the same
product.

There is sufficient stock of the new
high speed panchromatic on hand for
testing purposes, the doctor said, add-
ing that one company was going into
production with it. Already some of
the stock had been sold for special
work, like night shots and Broadway
stuff.

Hunter Goes on Tour

C. Roy Hunter, in charge of the
sound department at Universal stu-
dio, will leave for the East on March
7 on a trip which will take him to ev-
ery large film laboratory and releas-
ing plant in the United States and
Canada.

His purpose will be to discuss the
new Hunter - Pierce - Universal film
processing equipment. He also will
visit the Eastman, Agfa and Dupont
factories in connection with a new
processing idea, now being worked
out in the Universal laboratory.

"If successful," says Hunter, "this
new plan will revolutionize present
film processing. This method neces-
sitates an entirely new type of film
and will not only improve film qual-
ity but will reduce costs in many
ways."

I\ew Sound Reproducer

Gaumont - Franco - Film - Aubert
announces the production of a new
sound reproducer, the Radio-Junior.
This apparatus, which presents the
best features of the Ideal Sonore
Gaumont and the Radio Cinema pro-
jectors, is designed for small halls. It
will be sold outright, including in-

stallation, at a price which is not yet
named. Incidentally Louis Nalpas also
has announced a Junior apparatus.

Soutul Pictures and Business

J. E. Otterson, president of Elec-
trical Research products, was guest
speaker before the Illinois Manufac-
turers' Association at the La Salle
Hotel, Chicago, February 27. His sub-
ject was " Sound Pictures in
Business."

To Exploit Color

A company has been founded un-
der the name of Societe Cinechrome,
with a capital of 55,000 francs, for
the exploitation of a color film inven-
tion. The founders are Raphael Weill
and Eugene Rivoche.

Another French company has been
organized under the name of Cine-
Photo-Monde, for the exploitation of
a technical photographic invention by
Emile Pelliccioni.

Weekly Joins Federation

British Movietone News, Limited,
has been elected member of the Fed-
eration of British Industries. It is
thus the first newsreel company to
become a member of the Federation.

Audio-Camex

Sound-on-Film Recording

System

Originator of

Direct Current Interlocking Motors
Operating on B Batteries

And which now are successfully
working in the field

Sole Distributors for This System

iiAMEPA Exchange

^_y CABLEHOCAMEX-1511 CAHUENGABLVD-PHONEHO943I

.Sixteen

The INTERNATIONAL PHOTOGRAPHER

March, 19.31

fVhere Death Stalked

LVIN WYCKOFF has returned from a

journey into Death Valley bringing with

him two reels of film in Multicolor, a

goodly number of reels of 16 mm. film and also

many still negatives.

Behind the trip was the fundamental thought
of demonstrating how completely modern inven-
tion and perseverance have subjugated the terrors
of one of the world's worst spots.

Among the personal stills shot by the president

of the west coast International Photographers

we have made selections for reproduction on this

page. In the left panel, reading down, is (1) a

view from Zabriskie Point; (2) what was the

bank of Rhyolite, one of the ghost boom towns

near the valley which had a population at one

Alvin Wyckoff time of 5000 persons; (3) large deposits of borax

near Furnace Creek Wash; (4) gorge in Golden Canyon the colors of

which undergo changes according to the sun.

In the panel on the right are (1) a scene of Furnace Creek ranch,
below sea level, on which are grown what are reputed to be the finest
dates in the world; (2) Johnny Mills, who has lived on the desert for 34
years, is explaining to a tourist all about the salt pool shown in fore-
ground; (3) tramping a mile over rough country of glasslike sharpness
from the above pool back to the roadway and automobiles; (4) veranda
of Armagosa Hotel at Death Valley Junction.

In the upper row are (1) Furnace Creek Inn with swimming pool
about 30 by 75; (2) view from veranda of hotel; (3) view from steps
of Furnace Creek Inn overlooking valley; (4) Death Valley Scotty's
castle, representing the expenditure of several million dollars and sit-
uated seventy-five miles from a railroad station.

The lower row contains (1) borax deposits; (2) guest house at
Death Valley Scotty's; (3) Golden Canyon, a few miles south of Fur-
nace Creek in Black Mountains; (4) entrance to Golden Canyon from
Death Valley.

March, 1931

The INTERNATIONAL PHOTOGRAPHER

Seventeen

Luxury Now Reigns

The Multicolor subject was shown at the Eastman theatre in Santa
Monica Boulevard following its assembling, its fidelity to the original
being complimented by several persons in the small audience intimately
acquainted with the territory.

The picture opens with a sunrise in Death Valley. There are quite a
number of views of Death Valley Junction and of its Armagosa Hotel
with its corridor as long as a good golf drive.

Then the camera is taken to Dante's View, where from an elevation
of 6000 feet the Valley slips down to a point 310 feet below sea level.
There is a panoramic shot of the Black Mountains from Zabriskie
Point. Then comes a shot of Furnace Creek wash, the old trail of
emigrants in the early days.

There are views of Twenty Mule Canyon, of Golden Canyon, of the
Devil's Golf Course with its fifty square miles of salty crust running
in thickness from 25 to 500 feet. There is an interesting shot of one
of the salt pools, perhaps ten feet in circumference, the result of the
air perforating the surface and allowing the water to come through.

Death Valley Scotty's castle, situated near the northern terminus of
this 150-mile strip of sand and 75 miles from any railroad, is shown.
Nine years already have gone into the building of this structure for
the furnishings of which the markets of the world have been drawn on.
One of the features of the castle is a pipe organ, said to be one of the
finest in the world. Guests in any room in the house may tune in on
it or they may tune out.

Independent of the main structure is the guest house, most luxu-
riously fitted and furnished.

Flashes are shown of parts of the sixty square miles of shifting sand
dunes. There are many shots of Stove Pipe Wells Hotel, noted for
its excellent meals and real hospitality. The hotel and its bungalows
are the result of the work of its managers, Mr. and Mrs. Eichbaum.

One of the features of the subject is the Furnace Creek Inn, situated
on the eastern side of the valley on sea level and at the foot of Furnace
Creek Wash. Miss Kathryn Ronan is the hostess responsible for an
atmosphere of comfort and hospitality equaling that of any hotel of
which he has knowledge, declares the cameraman.

Eighteen

The INTERNATIONAL PHOTOGRAPHER

March, 1931

Stills Are Not Affected By Talkers

Remain Only Effective Means of Conveying to

Exhibitors Chief Characteristics of

Films Offered for Showing

By "A Tripod Man" in London Bioscope

THE arrival of the talking pic-
ture has disorganized most
things in the film trade, but it
is surprising how little they have af-
fected the work of the "still" camera-
man. In the old silent days the still
was perhaps the chief selling aid of
the film salesman.

With a bundle of these in his pocket
it did not very much matter whether
the exhibitor had or had not seen the
trade show of the film in question.
Here were the high lights of the film.
Here were some of the comedy situa-
tions; here was the chief comedian in
this or that plight.

On the whole the stills did give to
an experienced exhibitor a pretty fair
idea of what might be expected in the
film itself. They gave him an ink-
ling of the scale on which the pro-
duction had been staged. They gave
him several useful hints as to the
general character of the story. He
could pick out pretty clearly what
were the chief selling points of the
film in question, so far as his public
was eonceimed.

Breaking "Still" Man's Heart

A still of Mack Sennett's beauties
was a fair indication how much was
to be seen of the latest captures of
that connoisseur in female beauty. A
still of the daring climax of the com-
edy told him that here was a film
which had all the elements of knock-

about relief and excitement. It be-
came a matter of terms.

But here are the "talkies" on us
and, to date, more than 75 per cent,
of the value of the talking film has
lain in the quality of its talk. What
is the use of a still photograph to
a film of this kind? How can it sell
a film to an exhibitor when the chief
attractions of the film are not photo-
graphable? How in all the world
can you expect the still photograph
to make a snappy selling still of a
modern talking picture?

Most of the time the dialogue — wit-
ty as it may be, takes place with
the characters standing heavily about,
simply talking at each other, or what
is worse listening to each other. I have
known a still cameraman watch in
anguish the process of a production
for over a third of its length with-
out finding one incident which offered
him a reasonable chance.

A few close-ups of attractive faces,
a few portraits of the leads, yes, these
were possible. But any still picture
with a punch in it seemed frankly
impossible.

Put yourself in the still camera-
man's place and compare these noisy
groups of almost stationary actors
with the sort of material provided,
say, in the older type of Ford Ster-
ling comedy.

When Mabel Normand was dragged
by the legs, face downward, through

Indicating return of studio activity we see here tangible evidence that the worst

is over. The picture shows the delivery of part of an order of 107 Laco lites

to Radio Pictures, or an addition of a half million wattage to the plant's

former equipment

two feet of greasy mud, there was a
chance for a still that exhibitors
would look at twice. Most of the old
silent stories aimed deliberately at a
series of striking situations which
were necessarily pictorial, since there
was nothing else to rely on.

Stills More Important Than Ever

But take a modern comedy of man-
ners or a story of misunderstanding.
The whole point of the situation de-
pends on a slow development which
has been carried out almost entirely
by talk. Even when the climax comes
it may consist of a spoken sentence
rather than a pictorial gesture.

Even the showy film with spectacu-
lar settings rarely offers more than
a chance for some effective views of
the set and some static groups of
pretty girls. From the still-taker's
point of view, nothing ever seems to
happen.

In the circumstances, one would
expect to find that the still had rather
fallen off in favor as a selling aid; but
a little inquiry shows that this is not
so. Stills today are, oddly enough,
not less important, but more so, than
in the old silent days.

Of course, there is a reason. In
the first place, exhibitors are still
mainly influenced by the pictorial
side of a production. In the second
place, the very impossibility of con-
veying any vivid impression of the
talking elements in any given film has
thrown the renter back, more sharply
than ever, on to his stock of stills.
"Stills" Should Tell Story

The other day, in conversation with
a well-known publicity chief, I asked
him what he thought was the chief
requirement in an effective still. "It
is difficult to say," he said. "You
might just as well ask me what is
the chief requirement in a successful
film. But generally I try to secure
stills that do tell a story, that have a
suggestion of an intense situation,
that suggest amusing or exciting de-
velopments and sequences. If in addi-
tion to these I can get a reasonable
amount of what is tersely called 'sex
appeal' and also of appealing ro-
mance, I think I have been pretty
lucky in my object.

I know that these stills will create
a good impression on the exhibitor
if he has not seen the film, that it
will recall the action of the story
vividly if he has been to the trade
show and that they will shout the
virtues of the production in every
foyer and newspaper in which they
are exhibited.

"I should hesitate to say which is
the most important single feature in
a still. Sex appeal of the right kind,
with restraint and discrimination, is
undoubtedly a big puller, but action
and excitement run it very close. A
still showing Harold Lloyd hanging
precariously from a broken clock face
200 feet above a busy street hits the
bull's eye every time. You are not

March, 19J1

The INTERNATIONAL PHOTOGRAPHER

Nineteen

quite so sure about an audacious sexy
still. It may attract one patron irre-
sistibly, but it is just as likely to
leave another cold.

The best stills of all, of course, are
those associated with action comedies
of the Harold Lloyd or Lupino Lane
types, stills showing thrilling foolish
incidents with apparent realism. Of
course, such a film offers the still
photographer first - class material,
whereas a film which ought to make
an even better box-office hit may come
along with stills about as interesting
as still-life studies of fruit on a side-
board."

Are "Disc-Stills" Coming?

I have said above that there was no
way of giving an exhibitor any idea
of the talking quality of a forthcom-
ing feature. But this is not strictly
true. There is no way at present of
doing this. You can, of course, cull
a few bon mots from the dialogue;
but they are usually unimpressive
without their context.

In conversation with Hugh Findlay,
the able publicity chief of Gaumont
British, last week, he outlined a pos-
sible development to meet this situa-
tion. Disc records are now being
made satisfactorily of a flexible light
character. They are lasting, take
sound impressions fairly well, and
can be slipped in an ordinary en-
velope and sent through the post
without injury.

It seems a probable development
of the near future that the exhibitor
may have a "disc still" sent with his
pictorial ones — a light flexible record
that he can put on his non-sync equip-
ment and run off for his own informa-
tion and the edification of patrons in
the foyer.

"Stills" and Samples of Sound

Such a disc could contain attractive
excerpts from the musical accompani-
ment, snatches of interpolated songs
or dances, as well as a light commen-
tary on the story, with illustrative
snatches of the dialogue.

These records can be permanently
in position in foyers or waiting rooms
and put in operation by pressing a
buttom or striking a match. In this
way patrons can hear, either singly
or in groups, something of the talk-
ing side of the production already
pictorially displayed in the stills in
front of them.

All things considered, the still
photographer may take heart. Not
only is he in no danger of losing his
job in the meantime, but it looks as
though modern tendencies in produc-
tion will, from now on, begin to give
him better material for his pictures.
There is certainly no sign of the still
itself losing favor with the produc-
ing companies; all the evidence is to
the contrary.

Flashlights During Production

Technically, of course, stills have
been steadily improving, though the
job of the still merchant on the floor
has been a trying one since he has
been expected to get satisfactory stills
in the studio under difficult conditions.
In this connection it is worth while
drawing attention again to the flash-

lights recently described in these
columns under the name of Sashalite.
Armed with these, a still-man can
walk around a set quietly snapping
pictures of action in progress without
any of the woodenness due to repos-
ing the artists and any of the usual
irritation and delay to directors. At
first glance it might be thought that
the unexpected snapping of flashlights
might be a source of trouble and in-
convenience, but in practice it is
found that the flash, brilliant though
it is, is too brief to have any visible
effect on the film record and does not
catch the eye of the subject and dis-
tract his attention as the old-fashioned
powder flashlight would.

Lens Gone Astray

The loss of an Astro lens, 25 mm.
No. 6548, has been reported. Mem-
bers of Local 659 are requested to
keep this in mind and promptly advise
headquarters of any information they
may encounter regarding the missing
property.

Edward Frederick Blackburn

Mr. and Mrs. Edward O. Blackburn
are receiving congratulations on the
birth of a son February 9 at St. John's
Hospital in Oxnard. Mrs. Blackburn
and Edward Frederick, the new comer,
have made steady and splendid pro-
gression.

ANNOUNCING

CINEGLOW

The 3 Element
Recording Lamp

(patents pending)

Now for the First Time,

Optical Recording on Positive Film.

Full Modulation Without Distortion.

Tremendous Volume —

Abundant Exposure.

Something New In Sound Recording!

The three element principle involves the use of a separate ionizing
electrode which prevents, the lamp from becoming extinguished on
the lower wave peaks. This eliminates the harsh and raspy sound
quality caused by the '"lag" in re-igniting at full modulation, and
allows a much higher recording level, resulting in far greater
volume without distortion.

The Cineglow modulates very readily, 171A tubes supplying suf-
ficient power for full modulation with positive stock.
The Cineglow will record on positive stock with an optical slit
having an etfective aperture of .00075 inches. With negative
stock the aperture and lamp current can be reduced considerably.
The Cineglow illumination is proportional to the applied voltage,
and once the value of this voltage is determined for the desired
exposure, no further adjustments are necessary, even when chang-
ing to another Cineglow.

The Cineglow can be used in place of a 2 element lamp in a stand-
ard 2 element circuit by merely leaving the third element discon-
nected.

Instruction and special circuits supplied with each Cineglow.

PRICES

Type T9— 6 inches long— $50 each

Type T8 — 4 inches long — $40 each

Special discounts in quantities.

WAIT FOR OUR ANNOUNCEMENT OF PORTABLE RECORD-
ING EQUIPMENT OF BOTH THE SINGLE AND DOUBLE
SYSTEMS.

It is too costly to record without Cineglow — the Stand-
ard of Quality.

Blue Seal Sound Devices, Inc.

12 8

4 6th

S t

Twenty The INTERNATIONAL PHOTOGRAPHER March, 1931

Eastman Announces

THE GREATEST ADVAI
THE INTRODUCTION OF

AGAIN Eastman takes a great forward stride in
JlX emulsion making, with a motion picture nega-
tive film, the importance of which can be compared
only with the epoch-making introduction of the
first Eastman Panchromatic Negative.

Eastman Super-Sensitive Panchromatic Negative,
Type 2, is now ready for you.

Here are some of its outstanding characteristics:

(1) // has at least double the speed of previous pan-
chromatic emulsions. This remarkable increase
in speed promises substantial reductions in
lighting expense on the set, and added hours
of shooting time on location.

(2) It has an even finer grain than Eastman Pan-
chromatic Negative, Type 2.

(3) It exhibits a very decided, and very important
developing latitude. Because of this quality, the
industry can be more confident than ever of
getting the finest possible results in processing.

Eastman Su

March, 1931 The INTERNATIONAL PHOTOGRAPHER Twenty-one

IN EMULSIONS SINCE
ACHROMATIC NEGATIVE

(4) There is no increase in price over that of Pan-
chromatic Negative, Type 2,

• • •

All of the improvements embodied in this new
emulsion represent clear gain to the industry. For
they have been made without sacrificing or impair-
ing any of the desirable features of Eastman Pan-
chromatic Negative, with which camera men are
familiar. True color balance . . . unsurpassed ex-
posure latitude . . . ability to render fine shadow
detail . . . tough, wear-resisting base . . . splendid
uniformity ... all these qualities are as prominently
present as before.

Eastman Super-Sensitive Panchromatic Negative,
Type 2, represents a real achievement. You will
want to become thoroughly familiar with it. The
best way to do that is to use it in your next picture.
. . . Eastman Kodak Company, Rochester, New
York. (J. E. Brulatour, Inc., Distributors, New York,
Chicago, Hollywood.)

^Sensitive Panchromatic Negative

. . .Type 2

Twenty-two

The INTERNATIONAL PHOTOGRAPHER

March, 1931

Tale of Three-Element Cineglow

Technical Description of Optical Recording on

Positive Film — Full Modulation Is Claimed

Without Distortion

By VERNE T. BRAMAN

Chief Engineer Blue Seal Sound Devices, Inc.

THE ordinary two-element glow
lamp (gas discharge tube) con-
sists of a glass, Pyrex, or quartz
tube which contains rarefied gases,
and into which are sealed two elec-
trodes, an anode and a cathode. If
sufficient voltage be anplied to the
two electrodes, the gas will ionize and
carry current, at the same time be-
coming luminous.

If now the voltage be varied up or
down, the current will vary, causing
a variation in illumination propor-
tionate to the variation in current.
Thus, if the lamp voltage is modu-
lated, its illumination is modulated
proportionately.

This lamp may be modulated at
sound frequencies and photographed
through a slit on to film to make a
sound track, such as is done in a num-
ber of recording systems.

Objections to the use of the glow
lamp for sound recording have been

given as lack of sufficient illumination
for use with positive stock, short du-
ration of life, lack of uniformity, and
"blasting" when modulated at high
volume levels. This last will be gone
into more fully later.

Intense illumination can be secured
only by the proper combination of
certain gases and vapors, which must
be extremely pure and at the proper
pressure. If all impurities and gases
are not completely eliminated from all
parts of the tube and tube elements,
they are almost certain to manifest
themselves later and cause early de-
terioration of the lamp. Likewise the
nature of the gas and its pressure, as
well as the material and purity of the
electrodes determine the amount of
sputter and the useful life of the
lamp. Only by careful control of all
of these factors can lamps be made
with illumination sufficiently intense
to expose positive stock, and with

reasonably long life and uniformity.

If the voltage applied to the tube
terminals be decreased, the current
will gradually decrease until a voltage
is reached where the current drops
from a certain value (say L) to zero.
Let us call this the extinguishing
voltage. If, after extinguishing, the
lamp voltage be increased, it will not
ignite until a voltage somewhat high-
er than the extinguishing voltage is
reached, which we will call the Igni-
tion voltage. At this point ionization
of the gas is effected and the current
suddenly rises from zero to a value
(say L), which is greater than L.

The Three-Element Tube

Thus, when the voltage is modulat-
ed down to the extinguishing voltage
and back again, the current will not
exactly follow the voltage modulation,
but will remain at zero until the igni-
tion voltage is reached, a hysteresis
loop being introduced into our mod-
ulation curve. Fig. 1-A shows how this
can effect the current waveform at
maximum modulation. L is the mini-
mum current before extinguishing and
la the current at ignition. The cur-
rent remains at zero over a portion
of the cycle, introducing a waveform
which, due to the extremely sharp
wave front or rise in current, is very
productive of undesirable harmonics

The only institution o£ its kind in the world"

HIGHLAND AVENUE AT HOLLYWOOD

BLVD.

HOLLYWOOD, CALIF.

CHICAGO OFFICE — 444 WEST GRAND

AVENUE

Foreign Branches

London, England: 10 D'Arblay St.

Sydney, Australia: No. 4-C Her Majesty's
Arcade.

Manila, Philippine Islands: No. 227 David St.

Mexico City, Mexico: Paseo de la Reforma

36y2.

Buenos Aires, Argentina: 500 Sarmiento.

Lima, Peru: Edificia Mineria.

Honolulu, T. H. : 720 South St.

Johannesburg, South Afiica: Corner Jou-
bert and Kerk St.

Habana. Cuba
H-130, Vedado

The members of Photographers' Local 659 individually unqualifiedly indorse

MAX FACTOR'S MAKE-UP

MAX FACTOR'S MAKE-UP STUDIO

HOLLYWOOD, CALIFORNIA

March, 19:11

The INTERNATIONAL PHOTOGRAPHER

Twenty-three

and distortion, causing harsh, raspy
quality.

Obviously the only way to prevent
this form of distortion is to make the
ignition voltage equal to the extin-
guishing voltage. This is done by in-
troducing a third element into the
tube which allows an unmodulated
ionizing current to flow at all times,
independent of the modulated current
flowing between the two normal elec-
trodes. This unmodulated current
from the third electrode keeps the
gas ionized at all times, so that for
the two normal electrodes the extin-
guishing voltage and ignition voltage
are equal, and the hysteresis loop is
eliminated. The resultant undistorted
waveform is shown in Fig. 1-B.

The distortion shown in Fig. 1-A is
mild compared with that of some
tubes the author has measured. Cer-
tain impurities in the gas and im-
proper spacing of the electrodes
cause L and h to be much more wide-
ly separated.

Besides the "lag" in ionization be-
cause of the time required for the
voltage to reach the ionizing voltage,
there is also a time lag in the ioniz-
ing of the gas even after the ionizing
voltage is reached. This effect tends to
accentuate the distortion previously
described. By causing continuous ion-
ization, the third element eliminates
this effect also, and certain otherwise
desirable gases and vapors which are
sluggish in ionization can be utilized
to advantage.

Fig. 2 shows the appearance and
mechanical construction of a Cineglow
three-element recording lamp.

The construction of this lamp is
simple and rugged, and it is made en-
tirely by machinery, thus eliminating
the human equation which is not only
costly but subject to non-uniformity.

The circuit for the three-element
recording lamp is extremely simple.
The two modulated electrodes are
connected as in the standard two-ele-
ment lamp circuit; i. e., the cathode
is connected to the negative voltage
supply, and the anode to the positive
voltage supply through a transformer
or inductance and a stabilizing re-
sistance, the modulating voltage be-
inp- introduced by the transformer or
inductance in the usual manner. The
third electrode is connected directly to
the positive voltage supply through
a very high resistance, say one or two
megohms, which allows an unmodu-
lated ionizing current on the order of
0.3 milliamperes to flow. This simple
addition is enough to accomplish the
desired purpose and eliminates all of
the undesirable effects previously de-
scribed.

Effect of Overload
Since the hysteresis loop has been
eliminated and the ignition voltage
made equal to the extinguishing volt-
age, obviously any over-modulation of
the three-element lamp will result in
only a flattening of the lower peaks
of the waves, similar to the over-
loading of a vacuum tube, light valve,
etc. It has been found that a certain
amount of distortion of this nature
is not noticeable in most forms of
sound work, as practically all nat-
ural sounds are already very rich in

the harmonics which are introduced,
and a slight increase changes neither
the character nor the quality of the
tones. In addition to this, most com-
plex waveforms consist of high fre-
quencies "riding" on the waveforms
of lower frequencies, so that the peaks
of these higher frequencies are the
first to became flattened, and the
higher harmonics introduced are soon
lost by being above the audible range
as well as the transmission charac-
teristic of the sound system.
Reason for High Modulation Level
In sound systems our modulation
level is limited at the lower end by
ground noise and at the upper end by
over-modulation. Since these limits
are narrower than the volume range
of sounds in nature, we must keep the
average modulation reasonably high
so that the weaker sounds are not lost
in the ground noise. To take full ad-
vantage of the available volume range
we must record with the peaks of vol-
ume on the verge of over-modulation.
With the ordinary two-element tube
this cannot always be done with good
results, since full modulation results
in the introduction of the previously
described harsh and raspy quality, the
distortion introduced bearing no har-
monic relationship to the original
sound. Thus the two-element tube
must be modulated at a lower level,
with corresponding loss in volume
level and range.

With the three-element tube, how-
ever, full advantage may be taken of
the volume range of the system with
the knowledge that full modulation
may be utilized, a slight amount of
over-modulation on the extreme peaks
being permissible. The use of a lamp
capable of exposing positive stock also
makes possible increased volume
range and a reduction of ground
noise. The net result is high quality
sound recording with a greatly in-
creased volume range and volume
level.

British Patented Equipment

Guaranteed Against Piracy

Manufacturers of British patented
sound equipment, projectors, and
other cinematic equipment, exhibiting
at the British Empire trade exhibi-
tion to be held in Buenos Aires in
March, will be beneficially affected
by a recent decree of the Argentine
Provisional Government.

The decree specifies that all British
patented inventions and designs reg-
istered as showing at this exhibition
are automatically protected in the re-
public from the date of the decree
until three years after the closing of
the exhibition.

This will prevent British patents
from being pirated, and the long
period of protection is another ad-
vantage. The formalities to be com-
plied with to obtain this protection
have been reduced to the barest pos-
sible minimum.

During the three years following
the close of the exhibition the owner
of the patents may apply to have
them registered in the form pre-
scribed by the existing law.

May Be Super Censor

It is possible a Home office execu-
tive with special powers may be ap-
pointed in Great Britain to the British
Board of Film Censors within the next
few months, according to a current
report.

This step, it is believed, has been
under consideration by J. R. Clynes,
the home secretary, for some time.
An announcement in the House of
Commons is expected.

Third Dimension In Again

A new optical invention for the pro-
jection of films giving an effect of
third dimension is about to be
launched in Paris under the name of
"Stereogine." It is an invention oi
Edmond Noaillon.

FIG 1A ORDINARY TWO ELEMENT LAMP.

,W*

Current curves of two types of glow lamps

Three
Element
Glow Lamp

Twenty-four

The INTERNATIONAL PHOTOGRAPHER

March, 1931

Australian Governments

Plan Heavier Theatre Tax

THE business depression and
financial difficulties are making
it extremely difficult for the va-
rious governments to obtain their re-
quired revenues, and in some cases at-
tention has been directed to entertain-
ment taxes as a means of additional
state income, reports the Department
of Commerce.

In Western Australia the state
government proposed to double the
existing tax, but strong protests
have caused Parliament to consider
other proposals before making any
definite move.

The tax as first proposed provided a

levy of 2d. on tickets costing 9d. to
Is.; on tickets costing from Is.- to
2s. 6d., the tax would be 2d. for the
first shilling and Id. for every 6d. over
Is.; all tickets over 2s. 6d. would have
a tax of 2%d. plus %d. for each ad-
ditional sixpence. Nothing definite
has been decided, however, but some
additional tax is expected in a very
short time.

In Victoria a bill has been proposed
to reduce the tax on admission to
legitimate theatres by 50 per cent on
tickets costing up to 3s. 6d., and bv
25 per cent on all tickets costing more
than 3s. 6d. This move is being made
with the idea that perhaps lower
prices will increase interest in stage
presentations, thus providing employ-

The 100%

Silent

-INTEGRAL

INKIE

This amazing new Incandescent,
the Integral Inkie, with lamp head
made entirely in one piece from
silicon aluminum, overcomes dif-
ficulties encountered in set light-
ing. It is 100 % silent because
of its unique integral construc-
tion which eliminates cracking.

It projects more light due to a
special mirror. Aluminum con-
struction makes it lighter in
weight. It may be switched off
between shots without popping
hazard.

Every element in these lamps
is exhaustively tested before
they are released for use. The
Integral Inkie is a Mole-Richard-
son product.

MOLE- RICHARDSON, INC.

941 N. SYCAMORE AVE., HOLLYWOOD

If It

It Isn't An Inkie.

ment for artists and stage employes
forced out of work by the pictures.

The new tax would apply only to
entertainments in which 90 per cent
of the program is presented by human
beings in the flesh. The Victorian
government has already put into
operation a new entertainments tax
which is levied on all admissions of
lOd. and upward. The new law pro-
vides for a tax of Id. on admissions
of lOd. to Is.; for every sixpence over
Is. a tax of Id. is collected. As three
shilling tickets carry a Federal tax or
3d., the total tax on 3s. tickets is tid.

Tilting Camera Patented

A camera tripod for tilting or ro-
tating, having a single lever for con-
trolling either or both movements and
a flywheel for steadying the support
in this movement of the camera, is
the description accompanying patent
(U. S. 1,776,555) issued to F. E. Gar-
butt et al. Assigned to Paramount-
Publix Corporation.

Balsley-Phillips to Build

Balsley and Phillips, sound equip-
ment manufacturers, have moved to
753 Seward street, where the firm will
remain pending completion of its own
structure in Hollywood.

Shackelford in the Gobi

(Continued from Page 8)
turning to China from Turkestan, but
many messages sent out by native
couriers were never heard from again.

On my last trip I had a short wave
radio receiving set which we used to
pick up time signals from Manila and
by which we checked our chronome-
ters, and occasionally picking up a
message in code sent us by the Ameri-
can Legation in Peking.

The weather for about three
months out of the year is ideal, but
the rest of the time most anything
can be expected, as Granger, one of
our party, defined it, "Three months
spring and nine months late in the
fall."

The Gobi, situated as it is, on a
high plateau country, is as moody as
a tropical sea. We have gone to bed
on a calm, moonlit night, with the air
as clear as crystal and not a cloud to
be seen, only to be awakened an hour
later by a mighty blast sweeping
down from the northwest, black with
dust and gravel, leveling our tents
to the ground and scattering our
camp for miles.

Then again we would have weeks
on end of those lazy days with the
bluest of skies and big white billowy
clouds floating slowly overhead —
panchromatic ( ? ) yes — and then
those glaring red hot days when you
trot out the deepest colored glasses
and cast fearsome glances at the
thermometer creeping up and past
145 in the coolest shade, holding
your ears waiting for the thing to
blow up, and expecting every minute
to be the last.

And those winters! sixty below
and no coal. As I say, if you are
looking for weather, go to Gobi, but
take your fur-lined sleeping bag, for
there you will sleep in it every night
in the year.

March, 1931

The INTERNATIONAL PHOTOGRAPHER

Twenty-five

4^n/^

ZjtfNN 1j> l/e^SHNEt^

The-, new A$si5*fcNr

Twenty-six

The INTERNATIONAL PHOTOGRAPHER

March, 1931

1930 Jilm Exports "Drop from 1929

Decline in Footage Only, as Value Exceeds Earlier

Year by $496,420 and Five-Year

Average by $570,900

By N. D. GOLDEN,

Assistant Chief Motion Picture Division Department of Commerce

PRELIMINARY figures covering
American motion picture exports
for 1930 show a slight decline
from 1929. The United States ex-
ported to all markets of the world
during the 1930 period 274,351,341
linear feet of motion pictures with a
declared value of $8,118,736 as com-
pared with 282,215,480 linear feet
valued at $7,622,316 for the corre-
sponding period in 1929.

This slight falling off in our motion
picture exports should not be viewed
with any great degree of alarm. Dur-
ing 1929, which was the peak year in
motion picture exports, American ex-
porters of motion pictures generally
had their sound positive films printed
in this country, as foreign labora-
tories were not as yet equipped for
sound printing.

It was not until late in 1928 that
sound pictures really got under way
in foreign countries. During that
year, which was a normal one for mo-
tion picture exports, 214,410,785 feet
of American positive motion pictures
valued at $5,253,094 were shipped to
all foreign countries, and during 1929
—an abnormal year— 273,772,283 feet
of positive films valued at $6,501,714
were exported.

This increase of 59,361,498 feet con-
sisted mostly of sound positives. Neg-
ative film exports for 1929 amounted
to 8,443,197 feet with a value of $1,-
120,602. During 1930, which is more
or less a trend toward the normal,
261,995,983 feet of positive film valued
at $6,787,130 and 12,355,358 feet of
negative film valued at $1,331,606
were exported to all countries.

This is an increase of nearly 4,000,-
000 feet of negative film for 1930 over
1929, which will bear out the conten-
tion that more positive films are being
printed abroad from the negative now
than during 1929.

Six-Year Record
The following table of positive and
negative exports since 1925 should
serve to indicate that our exports for
1930 are far ahead of any year except
1929 both from a footage and value
point of view and 1925 with regard to
value.

Feet Value

1925: Positive, 225,656,151 $6,787,687
Negative, 9,929,843 1,893,058

1926

Total, 235,585,794 $8,680,745

Positive, 214,026,620 $6,395,923

Negative, 6,600,586 1,334,960

Feet
1927: Positive, 222,655,932
Negative, 9,448,951

Total, 232,104,883

1928: Positive, 214,410,785

Negative, 7,711,801

Total, 222,122,586

1929: Positive, 273,722,283

Negative, 8,443,197

Value
$5,775,730
1,455,519

$7,231,249

$5,253,094

1,220,896

$6,473,990

$6,501,714

1,120,602

Total, 282,215,480 $7,622,316
1930—

Negative Silent, 4,164,711 $ 348,087

Sound, 8,190,647 983,519

Total, 12,355,358 $1,331,606

Positive Silent, 83,749,717 $2,046,843

Sound, 178,246,266 4,740,287

Total, 261,995,983 $6,787,130

(It will be noted the valuation of
1930's exports exceeded those of 1929
by $496,420 and the five-year average
of $7,547,836 by $570,900.)

Exports by Location

Since sound and dialogue pictures
were introduced Europe has become
by far our largest quantity market,
and as usual maintains its position as
our least source of revenue. For 1930
American exports of motion pictures
to this region have increased over 12,-
500,000 feet, reaching the unprece-
dented total of 122,670,362 feet. Both
Latin America and the Far East
showed declines from 1929. Exports
to Latin America fell by some 6,000,-
000 feet, while in the Far East totals
declined just over 12,500,000 feet.
Canada imported approximately the
same amount of American motion pic-
tures during 1930 as it did during
1929. South Africa showed a decrease
on the other hand of nearly 1,000,000
feet.

The following table gives in detail
the quantity and value of American
motion picture exports to the various
regional divisions of the world:

American Film Exports by
Geographical Location

1929—

Countries Feet

Europe 110,081,478

Latin America.. 79,697,600

Far East 62,828,477

Canada 16,446,073

South Africa. . . 5,343,073

Other Countries, 7,818,779

Value

$3,341,435

1,926,551

1,388,983

690,595

130,394

144,358

193C—

Countries Feet

Europe 122,670,362

Latin America.. 73,518,089

Far East 50,049,020

Canada 16,476,472

South Africa.. . 4,414,679

Other Countries, 7,222,719

Value

$4,340,171

1,730,252

1,168,193

627,442

120,132

132,546

Total 274,351,341 $8,118,736

Of the ten leading individual mar-
kets for American motion pictures
four are to be found in Europe.
United Kingdom still remains our
leading individual consumer of Amer-
ican films and our best revenue mar-
ket, taking over 42,000,000 feet of our
motion pictures during 1930 as
against a little over 37,000,000 during
1929. Second in Europe is France,
which imported over 22,000,000 feet in
1930 as compared with 13,000,000 for
1929.

France by her tremendous increase
has supplanted Australia as our sec-
ond leading individual market. The
third market of importance in Europe
and sixth in our world markets is Ger-
many, which has imported approxi-
mately the same amount of American
films during 1930 as it did for the
year 1929.

Ninth among our individual world
markets is Spain, which shows a slight
decline in its 1930 imports of Amer-
ican motion pictures as compared with
those for 1929. Other countries of
Europe held their own during 1930.
The following table will indicate the
exact footage exported to the leading-
markets of Europe along with their
declared values:

EUROPE

1929—
Country
Unit. Kingdom

France

Germany ....

Spain

Denmark ....

Sweden

Other Europe,

Feet

37,644,353

13,790,744

15,187,095

7,925,950

3,953,145

3,841,092

27,739,099

Value

L,563,923

326,040

462,426

174,302

79,725

85,682

649,337

Total 110,081,478 $3,341,435

1930—
Country
Unit. Kingdom

France

Germany ....

Spain

Denmark ....

Sweden

Other Europe,

Feet

42,655,203

22,688,909

15,280,197

7,123,291

3,713,970

4,325,088

26,883,704

Value

',223,254

572,490

435,393

153,410

85,046

98,305

772,273

Total, 220,627,206 $7,730,883

Total 282,215,480 $7,622,316

Total 122,670,362 $4,340,171

* Rank among leading individual
markets throughout the world.

Fourth, seventh and eight places in
our ten leading markets are in Latin
America. Argentine has dropped from

March, 19J1

The INTERNATIONAL PHOTOGRAPHER

Twenty -seven

third position in 1929 to fourth for
1930, showing nearly a 2,000,000 foot
decline during the year just finished.
Brazil with a decline of nearly 7,000,-
000 feet of American motion pictures
is the second market of importance in
Latin America and seventh in our in-
dividual world markets. Third in im-
portance in this region is Mexico,
showing an increase of nearly 200,000
feet of American motion pictures im-
ported during 1930 as compared with
1929.

The remaining markets in Latin
America which can best be seen from
the following table show slight in-
creases and decreases for 1930 as
compared with 1929. When one con-
siders the language difficulties in
sound and dialogue films in this region
this slight decrease of 6,000,000 feet
of American motion picture amounts
to little or nothing.

LATIN AMERICA

1929—

Country * Feet Value

Argentine ... 3 18,936,292 $ 478,466

Brazil 4 18,108,712 413,073

Mexico 8 9,231,196 229,962

Cent. America 4,018,628 79,573
Brit. W.Indies

& Bermuda 6,141,363 124,372

Cuba 5,857,496 145,572

Chile 4,545,680 107,057

Other South

America . . . 12,858,233 348,476

Total 79,697,600 $1,926,551

1930—

Country * Feet

Argentina ... 4 16,782,015

Brazil 7 11,312,545

Mexico 8 9,417,508

Cent. America 8,726,429
Brit. W. Indies

& Bermuda 5,167,541

Cuba 5,172,681

Chile 5,232,086

Other South

America . . . 11,707,284

Value
$449,603
236,055
243,911

148,097

117,539
117,555
139,608

277,884

Total 73,518,089 $1,730,252

* Rank among leading individual
markets throughout the wo^ld.

In the Far East, Australia and In-
dia maintain third and tenth positions
respectively. Australia, until 1929
our leading individual market, has
been on the decline since the introduc-
tion of sound motion pictures. In

1929 it was displaced by the United
Kingdom and in 1930 by France. A
decline of nearly 10,000,000 feet is
noted in Australia's imports of Amer-
ican motion pictures during 1930 as
compared with her imports during

1929. British India, our tenth leading
market, has replaced Japan and is
second in importance in the Far East
by increasing its imports of American
films by nearly 1,000,000 feet during

1930. Japan on the other hand shows
a decline of over 2,000,000 feet during

1930 as against 1929. A detailed ac-
count of our footage and value ex-
ports to all of the markets of the Far

East is contained in the

following

table:

FAR EAST

1929—

Country

Feet

Value

Australia .... 2

28,080,746

$ 653,356

British India.

6,170,442

153,283

Brit. Malaya.

3,837,893

73,049

China — Hong

Kong and

Kwantung. .

3,533,096

69,434

Netherlands'

East Indies.

3,643,640

82,955

7,358,256

148,431

Phil. Islands

4,163,215

74,335

New Zealand.

6,041,189

134,140

Total 62,828,477 $1,388,983

1930—

Country

Australia ... 3

British India. 10

Brit. Malaya.

China — Hong
Kong and
Kwantung. .

Netherlands'
East Indies.

Japan

Phil. Islands

New Zealand.

Feet
18,847,549
7,068,674
3,961,616

Value

$493,765

175,598

86,993

2,931,806 66,966

2,652,316
5,273,137
3,513,760
5,800,162

48,749
102,627

57,267
136,228

Total 50,049,020 $1,168,193

* Rank among leading individual
markets throughout the world.

Canada as our fifth largest market
completes the list of our ten leading
markets. During 1930 Canada shows
the slight increase of 30,000 feet of
American motion pictures over 1929.
British South Africa shows a decrease
of nearly 1,000,000 feet during 1930,
and exports to other countries of the
world have decreased nearly 600,000
feet during 1930 as compared with
1929.

The following table indicates the
exports of American motion pictures
to this region during 1929 and 1930:

1929—

Country Feet Value

Brit. So. Africa 5,343,073 $130,394

Canada 5 16,446,073 690,595

Other Countries 7,818,779 144,358

Total 29,607,925 $965,347

1930—

Country Feet Value

Brit. So. Africa 4,414,679 $120,132

Canada 16,476,472 627,442

Other Countries 7,222,719 132,546

Total 28,113,870 $880,120

* Rank among leading individual
markets throughout the world.

During 1930 2,580,308 linear feet of
negative film valued at $368,197 were
imported by the United States as
compared with 2,493,194 feet valued
at $377,633 for 1929. Positive film
imports by this country amounted to
4,893,686 feet valued at $224,683 dur-
ing 1930 as compared with 4,918,236
feet of positive film with a value of
$180,208 during 1929.

Crouch Spends 16 Years

Repairing Tired Cameras

IN A hospital for sick motion pic-
ture cameras on the Paramount
lot in Hollywood works a man who
has tended these machines for sixteen
years.

Crippled and indisposed from ac-
cident or wear, the huge cameras
enter the repair shop. Crouch,
knowing every nut and bolt in their
complicated makeup, as the physi-
cian knows the human body,, tends
them skillfully and brings them back
to useful life.

"We work on a general efficiency
of one-quarter of a thousandth,"
Crouch remarks, "but on very fine
work we peel that down to one ten-
thousandth of an inch."

Severe Test Given Product

By Mole -Richardson, Inc.

In testing its new product described
as Integral Inkie, Mole Richardson
says in one instance it switched cur-
rent on and off a twenty-four-inch
sun spot 25,000 times. Its object in
doing this was to attain a wear
equivalent to that of five years.

In the new brand the company says
the eighteen and twenty-four inch
lamps are particularly adapted to
back and top lighting or where mod-
eling is employed for close-ups. Also
where sets are deep or extremely
large they may be used for front
lighting.

Announcement is made the new
lamp will be manufactured in all reg-
ular sizes.

Integral Inkie

Twenty-eight The INTERNATIONAL PHOTOGRAPHER March, 19J1

'Right'-

from the start!

V><ONSISTENTLY, through the transitory
stages of the motion picture industry, *£<xcc
products have proved their ability to meet the
exacting demands required of studio lighting
equipment.

The builders of o^^c^^ with the intro-
duction of sound pictures, were first to offer to
the industry a product that embraces every re-
quirement of modern production. Built right
from the start, ^SzcvJ^fe* are not under-
going that stage of experimental reconstruction
today required of many products necessary to
the motion picture industry.

The demand for JZ&c<? incandescent lighting
equipment and the preference shown for it in
important studios is proof of the confidence the
industry places in t^ocGc^Qt&s.

cIf it's not a ^z it's not silent!

) )

LAKIN CORPORATION

1707 Naud Street Los Angeles, California CApitol 14118

@ream oth Stills

^^I'o*

Lake Arrowhead is shedding its winter garments of snow and ice. Of the latter there is a trace in the
cores, and the snow drop by drop is slipping into the lake — eighty miles from, Los Angeles rind a mile in

the air. Otto Benninger photographed it.

.*2*T'o...

Gream oth Stills

«.*?MAu.

"0CR^

This tranquil bit of
landscape was
photographed near
San Bernardino,
Bert Baldridge
informs us. It is a
typical cross section
of any Southern
California desert
country

We will take a

jump away

toward the east,

stopping in

Wisconsin with

Harry Blanc as

he records a

dazzling specimen

of March awaiting

the coming of

April's showers

e*«*L'o„.

Qream a th Stills

cfWo*.

"°6r^v

Stepping back

to California, this

time with Frank

Bjerring, with

hvm we tramp

through the snow

to the edge of the

Trnckee River

But let's forget
this winter stuff
and join Hobart
Brownell as he sets
up above the
shores of the
placid old Pacific —
that is,

sometimes placid —
for a shot at
the Bay of
Monterey

>>w*

(5 ream oth Stills

iSiKt

"°crkV»

Robert ./. Bronner contributes what appeals to him as an industrial tragedy, an impression borne in on
him when he noted the bungalow in the left foreground desperately fighting a losing battle against the

encroachments of the derricks

March, 19.il

The INTERNATIONAL PHOTOGRAPHER

Twenty-nine

Qhik Employs film for Education

Government Founds Cinematographic Institute

as Part of University of Chile with

Home in Fine Arts School

IN the magazine Chile an interest-
ing article written by Carlos
Aguirre on "Educating with
Movies" tells of the recognition of
the educational film by the Govern-
ment of Chile as an all important and
far-reaching factor in the educational
development of the nation's schools,
especially in the rural districts.

During the brilliant centennial cele-
brations of 1910 Chile's Palace of
Fine Arts, erected at a cost of over
two million pesos, was inaugurated.
No one then could have foreseen that
the southern wing of this building,
known as the School of Fine Arts,
would two decades later be housing an
Institute of Cinematography.

With the distinction of being the
first of its kind in South America,
the Institute of Educational Cine-
matography, functioning as a division
of the University of Chile, was
created late in 1929 with an initial
apportionment of 15,000,000 pesos.

It occupies two floors of the School
of Fine Arts and its equipment is
thoroughly modern and complete, con-
sisting of a studio for photographic
purposes, projection room, laboratory
for microphotography, developing and
copying rooms, inspection and repair
shops for projection machines loaned
to schools, and a printing shop for
titles and other matter.

Narrow Film Used

All the film used is, of course, of
the narrow-gauge or 16 mm. type and
of non-inflammable material. There
is also sound-recording equipment for
the manufacture of sound pictures,
those films which are purchased from
abroad being synchronized in Chile
for Spanish speech.

The institute began its work with
the production of a film on physical
education introducing the school
children to the elements comprising
body-care. Another film illustrating
the famous Santa Lucia Hill of San-
tiago was appreciated by the rural
students who had never enjoyed the
opportunity of visiting their capital.
And from the laboratory of micro-
cinematography came the interesting
study of a drop of waste water dis-
closing the customarily hidden mar-
vels of the unseen microcosmic world.

The scope of the institute's activ-
ities is wide. The importance of for-
eign films in the subjects dealing with
geography, history and science is rec-
ognized and stressed, but local themes
and applications also receive treat-
ment in the civics classes dealing with
the problems of state and local gov-
ernments, the geography of Chile, in-
dustries and history, the film for these

of course being made in Chile.
Bureaus in All Capitals

To handle the distribution of films
and equipment to the schools of the
different provinces bureaus have been
established in all the provincial capi-
tals, each bureau having one person in
charge who is personally responsible
for this equipment. At these bureaus
teachers also are trained in the care,
use and maintenance of all the equip-

ment employed in this new phase of
education.

A definite policy of censorship re-
garding films for minors to be shown
in educational establishments exists,
the local authorities co-operating at
all times with the representatives of
the institute.

When called upon by any Govern-
ment department to furnish moving
pictures for educational, publicity or
other purposes, the Institute supplies
them at regular fixed charges. This
source of revenue is devoted to im-
proving the educational services of-
fered through the medium of the mov-
ing picture as an educational factor of
incalculable value.

Chicago Company Successfully Using
Films for Aid in Selling Stocks

OW the talking motion picture
is being used as a unique and
striking aid to successful sell-
ing is told in the current issue of the
Financial Advertisers Bulletin by
Frederick Doyle, advertising director
of Smith, Burris & Company, Chi-
cago, central syndicate managers of
Corporate Trust Shares.

It has been this company's idea
that motion pictures, especially talk-
ing films, could be of effective help in
selling investment trust securities, and
the actual results of the first exhibi-
tions of a three-reel talkie called "An
Investment in America's Prosperity"
have amply proved this, according to
Mr. Doyle.

The theme of this talking picture,
as shown on the screen and explained
by an accompanying voice, is the
closeness to the daily life of America
of the companies included in the
Smith-Burris trust portfolio.

"The different companies are seen
at work," says Mr. Doyle, "providing
luxuries as well as necessities — har-
vesting food and bringing it to the
table; supplying light, power and
heat; providing rapid communication
to any point on the globe; and per-
forming a hundred other tasks es-
sential to the very existence of our
national life."

The picture is shown by salesmen
in various cities. The film is supplied
in standard size for regular theater
production and in smaller size for
portable talkie machines. Of the
portable talkie reproducers over fifty
Bell & Howell outfits are now being
used to exhibit the picture. This out-
fit weighs only 88 pounds and is so
simple in construction that an office
boy can operate it. "In whatever
manner it is shown the production
is a thrilling talking movie," says Mr.
Doyle.

"One of the great difficulties that
the bond and stock salesman must
cope with," says Cedric H. Smith,

vice-president of Smith, Burris & Com-
pany, who directed the production of
the film, "is that of making his pros-
pective investor realize the extent
and nature of the income producing
power behind the particular invest-
ment offered. Engraved certificates
look much alike, and comparative
figures mean little except to statis-
tically minded people. But an inves-
tor seeing and hearing a great indus-
trial plant in operation gets a vivid
and comprehensive idea of the tangi-
ble factors back of his prospective
investment."

"An Investment in America's Pros-
perity" is a Burton Holmes produc-
tion. The companies whose activities
are shown on the screen cooperated
by supplying action scenes of their
plants, operations and products. A
t.otal of 81,500 feet from these films
was reviewed and scenes adopted, in
addition to many thousand feet of
new "shots" taken especially for this
new picture. From all this material
the picture was condensed to three
reels, making it interesting every sec-
ond of every scene. The voice and
musical parts were synchronized with
the picture.

"It was not expected that the film
would produce immediate sales," says
Mr. Doyle, "yet leading dealers make
such reports as this: 'Every time we
run the picture a few more sales are
closed. This week we have had a
crowded showing every night. Next
week we are making, in addition, a
showing every day at 12:10 and an-
other at 3."

Censors Earn Salary

According to statistics published by
the British Board of Censors 57 new
feature films (3,000 feet or over>
were censored in Great Britain during
December, 1930. Of these 57 films 46
were sound-synchronized and 11 were
silent.

Thirty

The INTERNATIONAL PHOTOGRAPHER

March, 1931

Claim 12-Foot Screen Nozv Possible
for 16mm. with New 375-Watt Lamp

THE first 75-volt 375-watt lamp
ever perfected for 16 mm. movie
projection has just been an-
nounced by Bell & Howell. Said to
achieve a light intensity more than 40
per cent greater than was previously
available for this type of projection,
it depends primarily for its unusual
results on a tremendous light concen-
tration interestingly exemplified by
the accompanying illustration.

In the picture one of these powerful
little lamps is placed alongside of six
60-watt electric light bulbs such as
are used in the home. When it is con-
sidered this new type projector lamp
actually is smaller than one of the
60-watt bulbs and yet furnishes more
illumination than all six of the latter
combined, something of what has been
accomplished may be appreciated.

Repeated scientific tests, made un-
der widely varying conditions, are
said to justify the statement that
Filmo projectors, when equipped with
this new lamp, can easily project
black and white pictures 12 feet wide
with entirely satisfactory distinctness
and can attain excellent Kodacolor
projection on a larger than ordinary
screen.

The problem presented to the illu-
mination engineers in developing this
lamp was to concentrate the maximum
permissible amount of light upon the
small 16 mm. film. Not only was it
desirable to increase the amount of

illumination so as to permit showing
a large picture of sufficient brightness,
but the light must be concentrated in
as small a source as possible to focus
pi'operly with the optical train of
lenses employed in projection, all of
which has been successfully accom-
plished.

It is stated that naturally the new
lamp, because of the great concentra-
tion of light, generates a fair amount
of heat, but a projector equipped with
an efficient fan cooling system satis-
factorily takes care of this situation.

This new 375 watt lamp has opened
up a tremendous field for the 16 mm.
film. The perfectly safe little 16 mm.
projector can now go into the audito-
rium and assembly hall and show pic-
tures of entirely adequate size, clear-
ness, and brilliance. This great step
forward will be especially welcomed
in the church and educational fields.
Home movie projectionists also will
appreciate the possibility of securing
theatrical brilliance on a larger
screen. The notable improvement
made possible in Kodacolor projection
is not the least of the triumphs
scored by this new lamp.

Silent Houses Fading

Western Electric installations
throughout the world now total 7645.
Of this number 4922 are in the Unit-
ed States and 2723 in the foreign
field.

Powerful little 75 volt 375 watt 16 mm. projector lamp (next to ruler),
recently perfected, packs into its small compass more brilliance than the six
60 ivatt ordinary light bulbs, shown near it, combined. This does not take
into consideration any possible loss of light due to the 60 watt bulbs being
frosted. — Photo by Bell & Howell.

Eastman Builds Vault for

Storage of Valuable Film

THE Eastman Kodak Company
has built a vault for the storage
of valuable film negatives, in which
every roll is insulated from every
other roll, so that any one roll may
be completely destroyed without the
others being harmed in any way. The
general method of storing motion
picture positive film has been that of
using open racks in a fireproof vault
depending upon the installation of
automatic sprinklers to prevent ex-
tensive film or building fires.

The superior protection provided by
the new type of vault has been accom-
plished by the use of fire-resisting
wood cabinets containing sheet metal
drawers, each of which fits into a sep-
arate wooden partition. Each drawer
is vented into a single flue pipe which
leads out of the building.

The cabinets are not fitted with in-
ternal sprinkler nozzles, so that a roll
of film once ignited can burn up com-
pletely but will not cause damage to
any of the surrounding rolls. A low
temperature (around 50 degrees F.)
is maintained in the storage vault, so
as to reduce to a minimum the grad-
ual changes which film is apt to un-
dergo with ageing.

Merge Field Forces

Consolidation of all field forces of
Electrical Research Products is under
way, according to a statement issued
by H. M. Wilcox, vice-president in
charge of operation. The first step in
the merging of departments was ef-
fected February 1 when the installa-
tion and service departments were
consolidated.

"The increasing variety of activ-
ities which the installation and serv-
ice departments are being called upon
to handle has made it desirable in the
interest of greater flexibility to con-
solidate the field forces and to rear-
range territories so that the sales,
credit and operating divisions will
synchronize, thereby effecting an even
closer coordination," stated Wilcox.

To Produce Cinecolor

It is reported that a limited lia-
bility company with a capital of
3,500,000 francs has just been formed
in Paris for the production of colored
film. The concern is Societe Conti-
nental Europenne Cinecolor.

The board of directors is composed
of Louis Aubert, Marcel Monteux,
Leopold-Maurice Gratioulet and Gus-
tave Dyckhoff.

The new company is to exploit the
so-called Thornton color process, the
patent of which is held by John
Edward Thornton, of Jersey, England.

Scheibe Losing I\o Time

George H. Scheibe has produced a
new monotone filter designed espe-
cially for use with the new Eastman
super-sensitive panchromatic type two
motion picture negative. This is the
latest addition to a line extending
over the past fifteen years.

March, 1931

The INTERNATIONAL PHOTOGRAPHER

Thirty-one

Australia Already Has 641

Theatres Wired for Sound

ONE of the Australian magazines
devoted to the show world has
recently made a survey of the
theatres in Australia equipped for
sound. Its results indicate that there
are 641 theatres in Australia wired
for sound; of this number, 505 have
sound on film and disc, with the bal-
ance having- disc only. Thus, 21 per
cent of the talker houses in Australia
are equipped for reproduction only oi
sound on disc.

In making its investigation, this
publication learned that 343 plants
had an average cost of £4000 each;
162 averaged £1250; and 136 averaged
£450, making a grand total of
£1,649,650 representing the total cost
of the installation of sound equipment.
On top of this cost it is revealed that
£81,952 is spent in service charges
annually.

New South Wales is far in the lead
as far as talkies are concerned, as in-
dicated by the following figures:

Sound on Sound on
film and
disc
New South Wales 213
Victoria (including

Tasmania) 118

Queensland (in-
cluding small
portion of N e w
South Wales) . .
South Australia . .
Western Aus-
tralia

Disc only

106
24

12
30

Total 505 136

As an indication of the rapid de-
velopment of the talkie, it is esti-
mated that 95 per cent of the equip-
ments have been contracted for dur-
ing the last twelve months.

Tobis-Klang Film Moving

According to a Tobis-Klangfilm
statement, 1090 theatres and projec-
tion rooms were wired with Tobis-
Klangfilm and Gaumont equipment as
of January 1, 1931. Of these 752 are
in Germany and 338 abroad. The
above figures include 37 projection

At the Horsley studio Jimmie Adams and Bud Jamieson have just finished
"Two Sons of the Sunny South." This is a sound picture on 16 mm. film, 100
feet in length and equivalent to 250 feet of standard. So far as known, it is
the first picture to be recorded simultaneously and made exclusively for the
home market. It is the initial subject of a series of fifty-two shorts for the
same market and is a Cine-Art picture, supervised by Walter W. Bell, and
was written and dire cted by Jack Baxley.

equipments which are installed in
halls not destined for public perform-
ances. Of the above sets 806 are
Klangfilm, 250 Tobis, 28 Gaumont
machines and 6 combined Gaumont-
Klangfilm projectors.

Must Seem Shame to Take

The Money for Some of ,Em

"Start the chatter" has become as
familiar a cry in Hollywood as
"Camera," or "Cut."

In any scene where crowds of peo-

ple are assembled, such as cafe, dance
halls, large social gatherings, or
street sequences, reality demands that
there be a background of murmured
conversation behind the dialogue
spoken by the principal players.

This murmur of sound, or chatter,
cannot be too loud, too soft, too shrill
or too rumbling. Expert chatterers
are required.

v The Paramount studios' casting of-
fice has a list of such experts at
small talk, and is offering them almost
steady employment.

DU CW*°^E FILM SYSTEM

6^23 SantalvionicaElvd.

Hollywood, Calif?

Red

Ortho

Front

Negat

lve

SPECIALISTS IN FILM FOR COLOR
AND PROCESS PHOTOGRAPHY

Producers Make Their Own Color Selec-
tion Negatives with Their Own Cameras

SOLD BY SMITH & ALLER, HOLLYWOOD, CALIF.
DU PONT-PATHE FILM MFG. CO., NEW YORK, N. Y.

Thirty-two

The INTERNATIONAL PHOTOGRAPHER

CHICAGO

tlAlArfiK

March, 1931

Repology in Order

BOY, oh Boy! Ever since the Feb-
ruary issue of the International
Photographer arrived in Chi-
cago my phone has been buzzing
about the misspelled Bal Tabarin —
again it was the Bal Tabarin and not
Bal Tavern where the 666 banquet
was "fought" — (one, and all I beg to
repologize).

SIX-SIXTY-SIX

Regular Meeting

The February meeting of Local 666
was called as a special and was held
the night before the banquet, so that
last minute details could be taken care
of and the election of officers could
be announced. New officers for 1931
for Local 666 are as follows:

President — Charles N. David.

First Vice President — Oscar W.
Ahbe.

Second Vice President — Norman W.
Alley.

Financial Secretary — William
Strafford.

Recording Secretary — Ralph J.
Saunders.

Treasurer Marvin Spoor.

Sergeant-at-Arms — Robert Taver-
nier.

Trustee — Conrad Luperti.

Trustee — Ralph Phillips.

Trustee — John Zimmerman.

By HARRY BIRCH

Vice President, Detroit-
Hargan.

Vice President, Indianapolis-
Biddy.

Vice President,
Flanagan.

Vice President,
Foss.

Vice President,
Sebastiani.

Vice President,
W. Reid.

Vice President,
bright.

Vice President,
Yeager.

Vice President,
Mathewson.

Out-of-town Vice-Presidents Ralph
Biddy, Bart Foss and T. A. Sebasti-
ani were at the meeting and were in-
troduced to all the boys. The next
business was a word of thanks from
the chair to the various committees
for the year 1930 for the hard work
and reports rendered Local 666. All
other business was rushed on and the
stage was set for the following night,
the big show at the Bal Tabarin.

-David T.
-Ralph
Cleveland— J. T.
Minneapolis — Bart
Cincinnati — T. A.
Kansas City — W.
Dallas— Guy All-
St. Louis — Harry
Atlanta — Tracy

Second Annual Banquet

The second annual banquet of Lo-
cal 666 was indeed a success. The
beautiful Bal Tabarin alone was
worth the price of admission, and the
outstanding feature of the night was
when Mayor Thompson of Chicago
presented Brother Eugene Cour with
a gold life membership card to Local
666. Of course, there was a good
feed, and there were good music, good
dancing, broken bottles, movies made,
and many other things, but I think
the Sassiety Reporter has given you
a very good detailed story further on
in this department, and I will let you
read what he has to say.

MOVIOLA

Film viewing and sound reproducing ma-
chines for use with:

Separate picture film and sound film,
composite film and sound on disc record.
For editing 35 mm. film, 16 mm. film and
v/ide film.

Write for Circulars Describing the
Different Models

MOVIOLA COMPANY

1451 Gordon Street
Hollywood, California

SIX-SIXTY-SIX

Beating the Blue Envelope

Several days ago I met Brother
Cour sauntering down Wabash Ave-
nue with one of those big smiles. I
asked Cour "why so happy?" and his
reply was that there was monkey bus-
iness going on some place. He claimed
that he received a check that morning
for two weeks' pay in advance, and
realizing that this was not coming to
him, he immediately became suspi-
cious that Pathe News was doing too
well by him, so he said, says he: "I
am going to beat them to it. I'll
cash the check and quit," which he
did. So Brother Cour is no longer
with Pathe News.

SIX-SIXTY-SIX

Visitors

Brother Roy Klaffki of Local 659
dropped off in Chicago the day of our
banquet and naturally had his "soup
and fish" outfit with him and was
very much in view at the speaker's
table that night. Several days later
Brothers Howard E. Hurd and John
Boyle came through Chicago, picking
up Brother Klaffki, and the three de-
parted on their way to New York
city.

SIX-SIXTY-SIX

Multicolor

Several weeks ago when Brother
Alvin Wyckoff was in Chicago, he
made a Multicolor test for the boys
here at the S & A studio. It was our
pleasure to see this picture screened
at the S & A studio, and it is only
fair that we tell the cock-eyed world
that this picture was far past expec-
tations.

This screening proved to us that
Multicolor is indeed a real color
process and we want to thank Brother
Wyckoff for the trouble that he went
to to make this test and, further, to
make it possible that we could see

March, 19.31

The INTERNATIONAL PHOTOGRAPHER

Thirty-three

the finished print. "Very good, Ed-
die."

SIX-SIXTY-SIX

In Focus — In Spots

By Birch's Sassiety Reporter

WELL, it wuz a grand and glori-
ous night, but all it remains
now is one swell headache for
yours trooly. What I means is the
big ball, and it wuz just that BIG,
as all the brothers what showed up
will agree, and if any wuz chump
enough to give it the go by, well,
that's your hard luck.

Like usual it was called for 7
p. m. and by 8 p. m. some of the
brothers promised to lick the waiters
if they didn't bring on the heated
groceries. And then it started. I
got plenty laughs on some of the
fadeouts from the affair.

* * *

Let's go back to the start. Swell
feed, wasn't it? Regular he-man
food. Why, I even lamped a couple
of perfect 36 females sinking their
teeth into the fattening baked pota-
toes and never a worry about the
extra avordupois it might coax on.
Bull Philips is the guy who suggested
the dinner pail feed. Guess he figgers
since some of us guys drag around
them heavy sound boxes squab won't

do.

* * *

Then did you see Charlie David
and Gene Cour up on the no cover
charge table glad handing the honored
guests?

* * *

Jack Barnett moved all over the
joint mugging the guests with his
Akeley and then to surprise us later
showed 'em — and they wuz all in
focus too.

Tommy Malloy, impressario of the
operators, showed up with a fine rep-
resentation of his boys.

* * *

Fred Wagner was the earliest ar-
gument that the Eighteenth amend-
ment ain't a noble experiment.

Conrad Luperti showed up with the
frau.

Billie Strafford figgered he'd bring
up his own fun so he got Rudy Nebb's
papa, Wallie Carlson, to sit at his
table.

* * *

Charlie Geis buried the hatchet
with his sound man, Harry Neems,
and they sat at the same table.

Fred Giese and the Pathe gang
didn't rent the usual dress suits this
year; maybe business depression.

* * *

There was a guy in the lobby
what made old fashioned tintypes,
and when a certain brother asked
him how business wuz he replied:
"The cheapest bunch I run across. I
ain't made one picture tonight."

"Keerect," says the brother, "them's
photographers, but since your honest
about it I'll get some customers." And
then it started, everybody trying to

outdo the other on posing goofy.

* * *

And talking about them tintypes —

was your party one of the gang that
got in on the ones Big Bill Thomp-
son, the Mayor, posed with?

All in all everybody claims they
had a big time, and that was exactly

what it was run for.

* * *

Things I never knew until the ball
was run.

That Charlie David owns his own
soup and fish.

That it ain't Mr. and Mrs. Martin
Barnett yet, but give Martin a
chance.

That Bob Duggan is quite a fancier
of flowers, going to extremes to gath-
er baskets of 'em in hotel lobbies.

That Harry Birch loves the morn-
ing air in the loop and always takes
brisk walks after a ball.

That Billie Andlauer arrived in
Chicago the day of the Ball, lived at
the Sherman hotel, never saw one of
the brothers and thought the ball had
been run off the night before he blew
into town.

That maybe Billie Andlauer ought
to drop in at headquarters when he
hits the burg and maybe get set in
his fi&tps

That Mr. and Mrs. Ralph Biddy
brought Ralph's new mamma-in-law
along to chaperon the newlyweds.

That Verne Blakeley didn't show
up because he had a date to dance
with Verne Wellington, Jr., at the
home fires.

That Red Felbinger has never seen
the ice parade at either one of our
two balls.

That it wuz a shame Brothers
Barth Foss and Sabatina could not
remain over for the ball.

That Brother Norm Alley did not
furnish the entertainment.

Eddie Morrison did a solo as Glea-
son, his sound man, was down with
the flu, but Eddie had the Mrs. along.

Speaking of Eddie Morrison, I got

witnesses that overheard him asking
Mrs. Morrison in one of the Sherman
corridors, confidentially and sweetly,
the following: "Do you still love
me?"

This column never figgered Eddie
wuz one of them Don Juans — so the
above ought to be news.

GOERZ

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Send for Booklet IP3.

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DUNNING

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Is pleased to announce the photographing of
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ENTIRELY BY PROCESS
"Subway Express"

A Columbia Production

"You Shoot Today — Screen Tomorrow"
932 No. La Brea Aye__ __GL 3959 Hollywood, Calif.

Thirty-four

The INTERNATIONAL PHOTOGRAPHER

March, 1931

LIFE IS A ROSE

To DAD — In Memoriam, January 25, 1931
By Virgil Miller
Life is but a rosebush, full of roses;
Every life a rose, from bud to bloom:
Every year ;i petal that uncloses
To fall away and give the others room.

I like to think of DAD as such a flower.
Budding-, blooming, growing through the years;
Strong and sturdy under sun and shower,
Sun for joys, and raindrops for his tears.

A budding rose, his face was toward the sky;
Deep-rooted were his feet in fertile spot; .
Growing secure, lest withering petals lie
In disarray, unfragranced, and forgot.

Coolly he fought the summers' scorching heat —
Protecting outer petals curled and clung
Nor fell till wasting- blasts had called "Retreat" —
Then, rusty-sweet, th_jy whirled away still young.

Unflinchingly he stood in whistling wind,

To give and take; in unison t" sway

With every moody gust that 'round him dinned,

Until his sweetness calmed it into play.

Gloriously he welcomed falling rain;
LTnfolding petals, thirst unquenched with dew,
Revealed the loveliness of color plain —
Unfading beauty, steadfast, ever true.

Firmly he met the icy North-wind's cold,

Deeply he breathed — each breath was warm and sweet;

The weather-beaten petals, growing old.

Kept warm the heart, unselfish in its beat.

Gladly he stood beside the lonely road;
Laden with thoughts of others his fragrance sped
Into the byways, that someone with a lead
Might stop and smile ere going on ahead.

Unafraid he bloomed near dingy street,

His simple beauty seemly out of place

Till one looked up, the rose's glance to meet,

And lost the pain that flicked across his face.

Budding and blossoming — the passers-hy
Saw beauty there, or if their eyes were dim.
Breathed deeply of his presence; heads held high.
They passed along — better because of him.

Many the petals falling at his feet;
Many the seasons crowning aged head;
Slowly the rose became more incomplete —
One petal more — then some would call it dead.

But roses don't die when the last petal tails;
The petal-less shell is the promise of God,
A resurrection to come, and when HE calls.
Behold the same rose in heavenly sod.

The last petal fell, and its sweet-laden dew
Was the incense of memory he left us to share;
The angels transplanted the rose that we knew.
To continue its blooming in God's loving care.

Paris New Gaumont House

Will Have 12 Projectors

THE largest and the smallest
motion picture theatres in
France — according to available
records — are being equipped with
Western Electric. The largest is
the New Gaumont Palace. To re-
construct this theatre required 20,000
cubic yards of stone, 1,000 tons of
steel and 200,000 sacks of cement.
The booth will be 30 yards long, 3
yards high and will contain 12 pro-
jectors and sound reproducers. The
length of the projection beam will be
230 feet. Western Electric equip-
ment will be installed in time for the
theatre's opening in March.

The smallest theatre is the Studio
Diamant with only 196 seats. A 3-SF
Western Electric equipment was in-
stalled, but owing to the smallness of
the house the installation involved
unusual difficulties. The work was
done by two engineers, all that the
projection room could hold at the
time.

Part of the roof was torn off and
reconstructed because, in its original
condition, it interfered with the pro-
jection beam. The booth was then
enlarged and a new projection hole
made for No. 1 beam. The equip-
ment itself had to be taken apart and
passed up the stairs leading to the
booth in small pieces, being set to-
gether again inside the room.

The Studio Diamant operates as an
international picture house, where
talkers in Italian, German, English,
Spanish, French and even Esperanto
are shown.

Carroll Dunning Returning

Carroll H. Dunning of Dunning
Process, who with Mrs. Dunning and
their daughter Decla has been in
Germany during recent weeks, sailed
for home February 25. He is ex-
pected to arrive here about March
10. Mrs. Dunning and daughter will
remain abroad for some time.

Mr. Dunning while in Berlin dis-
cussed plans for making there Ger-
man talking pictures from American
subjects.

J J | |jlf > ' i ffflj ||| j

Philip Tannura in Paris takes a stroll on a rainy night.' On the left is the Place de la Concorde, looking south,
the right is the Champs Elysees, looking from the Place de la Concorde

March, 1931

The INTERNATIONAL PHOTOGRAPHER

Thirty-five

Whispers Now Really sire Just That

Under Noiseless Recording It Is Not Necessary

To Raise Voice to Conversational Tone

In Order to Make It Audible

By H. B. SANTEE

Director of Commercial Engineering
Electrical Research Products, Inc.

UNDOUBTEDLY the most im-
portant single technical develop-
ment since the introduction of
talking pictures in 1926 is the West-
ern Electric noiseless recording. First
presented to the industry and the
public at large in the Paramount pic-
ture "The Right to Love," starring
Ruth Chatterton, it was immediately
recognized as a great forward step
toward perfect recording.

Most of the producers licensed to
record by the Western Electric sys-
tem quickly adopted it. Paramount
at once completed arrangements to
use noiseless recording at both its
East and West Coast studios and
United Artists adopted the new sys-
tem in recording Douglas Fairbanks'
"Reaching for the Moon," and Mary
Pickford's "Kiki." All future pro-
ductions of these and other companies
will undoubtedly be recorded with
this new system.

Noiseless recording represents a
victory in the battle between adequate
volume range versus background
noise. Low volume sounds which
heretofore have been masked by back-
ground noise, or which to be heard at
all had to be raised to a dispropor-
tionate value, can now be heard more
nearly in their proper relationship to
the louder sounds.

As a result the sound of meagre
audibility, such as whispers, sighs,
creaks, stealthy footsteps and the
like, can be brought out clearly. No
longer do whispers have to be raised

to conversational pitch in order to be
audible.

Full Value to Low Sounds

Heretofore photographic impres-
sions attempting to create "atmos-
phere" must many times have suffered
through this artificially loud level of
sounds which should be soft in order
to be natural.

Dramatic passages obtained photo-
graphically are so often enhanced by
some sound like the ticking of a clock
or the creaking of a floor or the
crackling of a fire that it should be
a great boon to the art to know that
these effects may now be obtained in
their true values.

Perhaps the most immediately no-
ticeable effect of noiseless recording
is the lack of hissing and crackling
sounds heretofore an inevitable part
of the film sound track during sup-
posedly silent portions. Now the quiet
moments really will be quiet and not
evidence themselves by a mechanical
hiss which may spoil some dramatic
scene where silence is the essence.
Quiet Even More Essential

It is obvious that the feeling of
realism and conviction is materially
enhanced by the use of noiseless re-
cording, and the cameraman need no
longer feel that when his photo-
graphic touches introduce a subtle
atmospheric effect they will be des-
troyed either by background noises
or some faint sound recorded at a
level unbelievably loud.

The only precautions that noiseless
recording imposes in the studio are
those, in a more intense degree, that
have been obligatory ever since talk-
ing pictures made their bow. If noise-
less recording has made it possible to
catch minute sounds intended for re-
cording, the same also applies to
noises not intended to be put on the
sound track. Shuffling feet, sputter-
ing lights, inadvertent coughs, whis-
pers and camera noises will have to
be guarded against more carefully
than ever.

These are minor details. The im-
portant factor, it would seem, lies in
the joy of the craftsman in the ability
to help toward attaining perfection.
That is what noiseless recording is
intended for. The cameraman takes
his part. It enables him to give fuller
expression to his art and to embody
all the intricacies of fine photography
of which he alone is the master.

Fine photography together with
natural recording and reproducing
are the prime factors in bringing to
the average theatregoer the illusion
of realness. The spectator of a pic-
ture made by means of noiseless re-
cording hears little that will remind
him he is listening to reproduced
sound.

That is the latest, and truly a great
development toward perfection in
talking pictures.

Panic Kills 29

During the presentation of the Eis-
enstein film, "The General Line," fire
broke out in the Illitch School, Khar-
kov, Russia, causing a panic. Twen-
ty-nine children died and 89 were in-
jured.

U fa Making Disks, Too

Lignose-Horfilm (German) has con-
cluded an agreement with Ufa, ac-
cording to which it will make disk
scores of all Ufa sound product re-
corded by the sound-on-film method.

Here Mr. Tannura shows us on the left the Place de la Concorde, looking north, with the Admiralty and the Cercle
dc la Rue Royale buildings in the background. On the right is the fountain in the centre of the Place de la Concorde

Thirty-six

The INTERNATIONAL PHOTOGRAPHER

March, 1931

Looking In on Just a Fezv Nezv Ones

the savage ceremonials accompanied
by sinister cries and ominous drums
seemed sweet to the ear.

(Continued from Page 11)

there is one person at least who
failed to hear about it. Nevertheless
Metro went to it, with the possible
result it will duplicate its success of
the earlier story- It may duplicate it
because where the older tale devel-
oped drama, the newer one has thrills
and novelty.

As an exposition of physical equa-
torial Africa and of its beasts of field
and stream it is probable "Trader
Horn" will top the list of everything
in its class. In addition to this there
is the story of a part of the life of
the rugged old trader around whose
stormy career the book was written.
And no one who has had a squint at
the seared and scarred hide of old
man Horn when his shirt was off will
have any doubt the career had been
stormy.

Just one scar and the story of its
antecedents will serve. An area
larger than the two hands of a man
across one of the old adventurer's
shoulders bore the livid imprint of a
lion's paw.

"Why, the way I got that," ex-
plained the old man, who had just
declared he had no exact idea how
many scars he did carry, "I was
slammed down by a lion and in the
second or part of it his paw was hold-
ing me down and before he could
make another move, my partner
drilled him with a bullet. The beast
keeled over on me — and I was rather
glad he was quite dead. My partner
had made a good shot."

Through the expedient of the old
trader explaining to Little Peru the
names and characteristics of the
many animals seen at close quarters
the audience is let in on a sort of
zoological festival — and an interest-
ing occasion. It is just one herd after
another.

Not all of the thrills are of the
jungle. A dugout containing four

persons is being paddled across a
stream spotted with the rolling and
plunging bodies of the great beasts
of the water. One of these, weighing
thousands of pounds, comes up along-
side the boat and moves away, creat-
ing no particular attention on the
part of the occupants, but it's a fear-
some sight as the cameraman puts
it on the screen.

Incidentally, there must have been
perils aplenty for the camera crew.
The action indicates that. The work
of these men, De Vinna and his asso-
ciates, Robert Roberts, George Nogle
and Earle Frank, contribptes might-
ily to the success of the production.

Wherein the picture touches the na-
tives it easily takes on the rank of a
spectacle. The barbaric ceremonials,
staged in splendor and on a magnifi-
cent scale, will cause many to revise
their previous ideas regarding the na-
tive of Darkest Africa.

Harry Carey is an ideal interpreter
of old man Horn. The statement
will bear emphasis. More than that,
it is a humanly sympathetic por-
trayal. Second in interest to the chief
player, surely with a great many, will
be the work and the personality of
Mutia Omoolu, the African giant who
portrays Renchero, the servant of
Horn.

Duncan Renaldo, as Little Peru,
and Edwina Booth, as Nina T., are
the other principals, the latter late
in entering the story. W. S. Van
Dyke directs. Richard Schayer wrote
the screen play and Cyril Hume the
dialogue from the book by Ethelreda
Lewis.

It is to be hoped those who witness
the picture in places other than Holly-
wood will be spared the handicap suf-
fered by the production locally by
reason of the barbarously deafening
prologue staged for it. After a long
half hour of orchestral pandemonium,

THE LADY REFUSES (RKO)

Leo Tover, Cameraman

A GREAT story and a deeply mov-
ing one is "The Lady Refuses,"
which Robert Milton and Guy
Bolton wrote for RKO production.
And a great and at times a deeply
moving performance is given by two,
possibly three, persons. Of these
Betty Compson and Gilbert Emery
will appeal to the maturer picture-
goer, while John Darrow will monop-
olize the attention of the younger
element of any house as well as com-
mand an abundance of it from the
older.

Betty Compson has the part of June
Loring, penniless and discouraged and
who if not of the street at least is well
on her way across the sidewalk when
the sound of approaching police boots
frightens her into ringing the first
doorbell. The role well might have
been made to order for the woman
whose artistry in the sympathetic por-
trayal of the unconventional woman
was established in that compelling
tale of "The Miracle Man."

It is Sir Gerald Courtney who an-
swers the imperious clanging of the
bell. The head of the house has an
elaborately prepared dinner for two
ready to serve, but only one to sit in
on it, the son of the house having
broken an engagement at home in
order to join the gold digging
Berthine. It is Emery who so splen-
didly portrays the Englishman, a gen-
tleman in the truest sense, an indul-
gent father and altogether a delight-
ful conception of a most likable chap.

If Sir Gerald does not stir the
hearts of the women picturegoers
even as June is responsible for a like
emotion on the part of her masculine
audience, then indeed is one scribe a
poor prophet.

Darrow is the Courtney son who
has been indulged in his pastime of
sowing oats of a riotous character up

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Thirty-seven

to the point when even a complacent
father becomes concerned enough to
engage June to do what she can to
break the fast culminating misalli-
ance with the effusive Berthine.

While the onlooker inwardly may
sense the inevitable denouement re-
sulting from the contact of an im-
pressionable youngster with a charm-
ing woman experienced certainly in
the ways of the upper world and pos-
sibly of the under nevertheless there
are times when his faith is shaken in
his own powers of foretelling events
and he plainly is doubtful how it all
will end. And he so remains until Sir
Gerald speaks the final line of the
story.

Margaret Livingston is Berthine
and Ivan Lebedeff is the Russian who
aims to make his living off of her ad-
ventures— the New Yorkers have a
name for it — and who makes the mis-
take of killing his meal ticket when
she displays genuine not simulated
fondness for young Courtney. The
blood tragedy is shown off stage,
which is well; sufficiently poignant in-
deed are the three distinct soul trage-
dies holding a silent house under their
spell.

Edgar Norton seems to be perfect
in his interpretation of what the mul-
titude is bound to construe as the real
thing in English butlers; nor is the
part overdrawn. And Daphne Pollard
as Milly the chambermaid who sees
much and says little, and most effec-
tively that little, completes an un-
usual cast.

Throughout its course "The Lady
Refuses" is a sophisticated story —
barring the few moments when June
in order to clear the situation by in-
curring the i-epulsion of both father
and son indulges in the slang of the
near underworld.

Bertram Millhauser is the associate
producer, and to his credit is to be
recorded a finely made picture. George
Archainbaud is the director who mark-
edly contributes to this aforesaid end;
and Max Ree, responsible for scenery
and costumes, deserves especial com-
mendation for his interiors of the
Courtney home. His library lingers
in the memory.

No father or son can afford to miss
this absorbing picture. Neither can

any woman interested in any father
or son — or both. Aside from an oc-
casional involuntary chuckle they are
going to remain very, very quiet for
an unusual hour.

LITTLE CAESAR

Tony G audio, Cameraman

A STRANGE story is "Little
Caesar," which Warner Broth-
ers produces from the novel of
the same name by W. R. Burnett. It
is a tale of gangs, presumably of
Chicago, although the town is not
named. Presumably also the aim of
the gangs is to convey alcohol in some
form or other from one owner to an-
other, although that not unessential
fact is not nominated in the bond, at
least so far as recalled.

If the story be a strange one also
it is a convincing one so far as con-
cerns anyway the layman who is not
privileged to speak with authority on
all subjects, particularly those refer-
ring to gangs and their ways of ac-
complishing things.

The picture is melodrama and is de-
signed to be just that. It is a tale of
"tough guys," of the male persuasion.
One lone female there is in the story,
but the man who writes the lines fails
to give her an opportunity of making
her presence felt. And therein lies
the chief "out" of the production —
the absence of deep heart interest.

Of physical thrills there are a num-
ber, but emotionally there is neither
rise nor fall in the penciled line.

Edward G. Robinson is given the
part of little Caesar, the small town
denizen who moves his activities to
the lake metropolis. With the excep-
tion of a tendency to speak too rapid-
ly to allow the sound reproducing
equipment an even chance, Robinson
gives a remarkable characterization.

To Douglas Fairbanks, Jr., and
Glenda Farrell is intrusted the ro-
mance. Both did their creditable best
to inject that element into the tale.

The police side of the drama is most
capably represented by Thomas Jack-
son, the deliberately spoken "dick" of
"B'roadway." His interpretation here
is along similar lines — and his spoken
lines always are of particular interest.

This is a good place to say the dia-

logue is worthy of mention. It has
an abundance of snap.

There is an excellent supporting
cast. Among those who had the most
to do were George E. Stone, William
Collier Jr., Sidney Blackmer, Ralph
Ince, Stanley Fields and Maurice
Black. Mervyn Leroy directed.

RANGO

Al Williams, Cameraman

IT'S a simple tale of the jungle, this
"Rango," which Ernest Schoed-
sack produces and directs for
Paramount. The actual locale is Su-
matra. The picture was photographed
as a silent one, its very competent
synchronization having been done in
Hollywood so recently as to have been
given the benefit of noiseless record-
ing. But if it be a simple tale of the
jungle how altogether fascinating it is
and how absorbing, even gripping, at
times!

The story turns largely on the ordi-
nary life of a hunter, Ali, and his
son, Bin, the only humans seen in the
story following the prologue. Ali is
more than a hunter; he is a tiger
hunter.

Then there are an old ape, Tua, and
his young son, Rango. These latter
two furnish much of the comedy and
also some of the drama — and tragedy.

Ali shows how to build traps for
the tiger, among these the deadfall,
designed when tripped by one of the
big cats to unloose a spiked beam
which crushes its victim. Then there
is a pit, a hole in the ground covered
first with bamboo and then with
leaves. It so happened this particular
pit was opened by a regiment of
monkeys fleeing from the vicinity of
a tiger, troops of them going into the
pit, to return a second later when they
discovered their mistake.

Through the picture there are shots
of monkeys and then more monkeys,
but never do these become monoto-
nous. Far from it. The little fellows
are the eyes and the ears of the for-
est. At least one pair of guardian
eyes, popping wide open with excite-
ment at times, and backed by an
earnest face always is on the watch
and on slightest provocation slips to
the feeding troops below the word to
hop to it and high up. And then how

King Charney says . . .

WHETHER IT BE CARBON OR INCANDESCENT LIGHTING
WHETHER IT BE TALKIES OR SILENT

Insist
Upon

Negative

For definite results

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Thirty-eight

The INTERNATIONAL PHOTOGRAPHER

March, 1931

the little fellows do stream up some
hanging- vine to their shelter two
score feet above the ground. It's a
real parade.

There is a black panther, dreaded
by all and surely of fierce appearance,
which meets sudden death at the hand
of Ali. One of the first sequences in
the picture is the shooting of a tiger
by Ali, who as he puts in position the
percussion cap on his archaic shoot-
ing iron plainly takes the situation
seriously even if he betrays no fear.

One of the lighter sequences is that
showing how Tua and Rango obtain
admittance to Ali's cabin and wreck
the place in their hunt for food —
which they find and eat, plenty. It
is Tua Ali suspects, and so he sets a
trap. It is Rango who is caught, and
it is the son of Ali who takes Rango
to the cabin a prisoner. How these
two youngsters share the evening
meal and curl up together under one
blanket for the night is a story in
itself.

There are scenes in "Rango" that
will linger Ion"- in the memory. One
of these is where a young regiment of
monkeys fleeing from a tiger crowd
into a tumbling mountain stream,
some of them keeping their footing
on the rocks and others being pushed
into the torrent.

The battle between the domestic,
placid, even affectionate water buffalo
and a marauding tiger, seemingly
sought by the buffalo with its four-
foot spread of horn, was a surprise
to many in its outcome. No matter
how that cat approached its antagon-
ist he seemed to land on the end of a
horn. The ponderous buffalo moved,
too, with the agilitv of the tiger, who
did not long remain a competitor in
the encounter.

"Rango" is a family picture. For
very young and very impressionable
little ones the matinee is the time for
them to see it — for with these it will
be especially vivid. But don't let
them miss seeing Rango the son of
Tua or Bin the son of the mighcy
hunter Ali.

In spite of the equatorial and other
handicapping conditions the photog-
raphy is excellent.

STORM OVER ASIA

AN UNUSUAL amount of inter-
est was manifested in Holly-
wood over the appearance at
the Filmarte of Director Vsevolod
Podovkin's "Storm Over Asia," pro-
duced in Russia by Mejrabpomfilm of
Moscow. At the first show on the
opening night so many of the audi-
ence decided to remain over for the
second performance that a large num-
ber of patrons were unable to gain
admission.

The subject was silent, with Eng-
lish titles written by Shelley Hamil-
ton. In the course of its showing
there was abundant proof that dia-
logue is not an absolute essential in
order to guarantee strength in vol-
ume. For strength it has, in story,
in characterization and in direction.

The theme was political, as one
would expect of an Amkino release.

It was dramatic, nevertheless, at times
powerfully so. The plot turned on the
efforts of the White Russians, or anti-
Soviets, to establish an alliance with
the Mongols and of the failure of the
plans due to the treachery of the
White Russians.

The director showed a marked
preference for long shots, especially
where he aimed to portray desolation,
which he frequently most successfully
did. Also his use of throngs was most
generous, all of these being notable
for the close-ups of representative
faces.

The finish of the picture, the se-
quence which gave birth to the title,
showed the destruction of the White
Russians by the Mongols in a terrific
hurricane.

Truly it was a smashing close to
a picture that held the spectator's
closest interest throughout — whether
that spectator was a partisan or
even an antagonist of the present rule
in Russia.

How Well the Juicer Knew

A SCENE was in rehearsal on a
set at the Paramount studios
for Ruth Chatterton's "Un-
faithful," in which the star was
endeavoring to make a point in a
dice game. She was supposed to
fail.

"What point shall I say it is?"
she asked Director John Cromwell.
"What's a hard one to make?"

From the runway far above
came the voice of a "juicer," an
electrician :

"They're all hard, lady."

STOLEN HEAVEN

George Folsey, Cameraman

IF IT be true that all the world
loves a lover then must it be
doubly true that all the world
loves two lovers — which is another
way of saying that Nancy Carroll
and Phillips Holmes are in for a
lot of attention when Paramount's
"Stolen Heaven" is released.

The picture is one of the prettiest
and incidentally at times one of the
most moving love stories of the year.
It is more than that. It is a logical
tale of wrongdoing and expiation.

The story is not of the Sunday
school order — hardly. It is, though,
a tale of life, of life in New York or
in any other big town. A wounded
and dazed man collides in the street
with a woman and by the latter is
taken to her room, where she learns
she has on her hands a hold-up man
— learns that not unimportant detail
just prior to the search of the house
by the police — and that on him he
has the goods to the extent of twenty
thousand. Her quick wit saves him.

So two desperate youngsters de-
cide to pool issues, to go away on a
riotous honeymoon, to spend the
money, and then jointly to take the
big step that previously they had
been ready to take individually.

Under the spell of the new life the
woman is transformed from a listless

to an enthusiastic being. She is in
love — not merely or casually or just
so-so but madly and boundingly, al-
most insanely so. The man maintains
his reserve, but his chief thought
now is to save the woman from par-
ticipating in the pact.

Alternating with the gayer and
lighter moments are scenes of near
hysteria on the part of the woman as
she plans and schemes to prevent the
carrying out by the man of his what
we'll call prenuptial promise to free
her of his presence.

George Abbott, who adapted and
staged this subject from a story by
Dana Burnett, easily may rest the
popular verdict on his picture on these
particular sequences, although as a
fact there are no dull moments the
entire course of the running.

If the opening scenes ar-e drab
likewise are they exciting. There is
suspense aplenty in this dramatic
introduction in the girl's room of two
desperate persons. And the same pull
adheres throughout the unwinding of
the story, even right to the finish
when fate and reason have joined to
let the law take its course.

There is not much to be said about
the cast — for the excellent and suffi-
cient reason that Director Abbott, in
the main, has chosen to confine his
story to two persons. Louis Calhern
has the part of the heavy who also
proves to be a benevolent one in the
end. Edward Keane is the detective
who speaks for the law.

"Stolen Heaven" will establish its
two principals among the leaders in
their particular field. Possibly noth-
ing Nancy Carroll has done hereto-
fore will equal her present work in
demonstrating her quality as an emo-
tional actress — and the expression is
employed with due regard for the im-
portance of its rather large implica-
tion.

In the case of young Holmes his
portrayal here will supplement and
confirm that in "The Criminal Code,"
to mention a recent example.

Primarily Abbott has made a pic-
ture for young persons. It is sug-
gested, however, the appeal of the
subject will be increased in direct
proportion to the added years and ex-
perience of the person viewing it.

Australia Has New One

Another reproducing system re-
cently has been placed on the Aus-
tralian market by Reproducer Sys-
tems, Ltd., Sydney. The new gear,
known as Reprovox, is of Australian
manufacture and at recent demon-
strations has apparently given satis-
factory results. The company makes
no claims its plant is equal to the
high-priced makes, but guarantees it
to give a highly satisfactory perform-
ance.

The new equipment is priced as
follows: Sound on disc from £325;
sound on film from £575; disc and
film from £675. The equipment car-
ries a twelve months' guarantee, and
while no service fee is intended the
company's engineers will make regu-
lar inspections.

March, 1931

The INTERNATIONAL PHOTOGRAPHER

Thirty-niyie

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MODEL B

Their use for follow shots
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Assistant Cameraman

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FOR SALE— Cameras— Mitchell, Bell & How-
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MITCHELL high-speed Camera No. 225. Van
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I WISH "THIS

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The

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April, 1931 r*e INTERNATIONAL PHOTOGRAPHER One

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BELL & HOWELL COMPANY, 1849 Larchmont Avenue, Chicago, Illinois
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London (B & H Co., Ltd.) 320 Regent Street Established 1907

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Vol. 3

HOLLYWOOD, CALIFORNIA, APRIL, 1931

No. 3

xAP

"Capital is the fruit of labor, and could not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.

CONTENTS

Front Cover — West Portal in the
Rockies, 9000 Feet Up

James Munatt, Photo
Frontispiece — The Gathering Four-
o'Clock Storm 2

Lewis W. Physioc, Photo
Color Sensitivity Little Changed. ... 4

By D. R. White
Super-Sensitive Cut Film Is Here... 6
"Under Paris Roofs" Good Picture. . . 8
Shooting Whales with the Camera. . 9

By Man lice Kains
1930 Equipment Exports Gain 13

By N. D. Golden

To Penrod: A Tribute 14

Dirt and Scratches 16

By Ira Hoke

Chicago Doings 18

By Norman W. Alley

Up to the Mountains and Down to
the Sea with Kling

Looking In on Just a Fejw New Ones
By George Blaisdell

Amateur Department

Home Equipment for Radio Stores. . .

Advise Tourists as to Camera Care. .

Use of Talking Pictures in Business
Expanding

Bell and Howell to Build in West. .

Tells Countrymen a Thing or Two. .

Simplex Builds Triple Lens Turret..

Curtiss-Wright to Give Course in
Air Photography

Film Daily's Year Book

Herrmann's California Weather
Makes No Hit

Funeral of Fogel Largely Attended.

20
22

25
25
26

27
28
29
30

32
34

35
37

The International Photographer is published
andM.P. M.O. of the U
Entered as second class matter Sept. SO, 1930,

the act of M
Copyright 1930 by Local 659, I. A. T. S. E. and

Howard E. Hurd,
George Blaisdell ------- Editor

Ira Hoke Associate Editor

John Corydon Hill

Subscription Rates — United States and Can

Office of publication, 1605 North Cahuenga Av

monthly in Hollywood by Local 659, I.A.T.S.E.
nited States and Canada

at the Post Office at Los Angeles, Calif., under
arch 3, 1879
M. P. M. O. of the United States and Canada

Publisher's Agent

Lewis W. Physioc 1

Fred Westerberg S

- - - Art Editor
ada, $3.00 per year. Single copies, 25 cents
enue, Hollywood, California. HEmpstead 1128

Technical Editors

The members of this Local, together wLh those of our sister Locals, No. 644 in New York, No.
666 in Chicago, and No. 665 in Toronto, represent the entire personnel of photographers now
engaged in professional production of motion pictures in the United States and Canada. Thus
The International Photographer becomes the voice of the Entire Craft, covering a field that
reaches from coast to coast across North America.
Printed in the U. S. A. i.=^§§^>2 at Hollywood, California.

Four

The INTERNATIONAL PHOTOGRAPHER

April, 1931

Color Sensitivity Little Changed

Essentially the Same, Says DuPont Technician

in Discussing- His Company's Special and

Regular Panchromatic Negative

By D. R. WHITE

THE data here presented give di-
rect comparisons between the
characteristics of DuPont spe-
cial panchromatic negative and Du-
Pont regular panchromatic negative.

From a purely scientific angle a
complete analysis of such spectro-
grams as are shown in Fig. 1 would
give a very complete knowledge and
comparison of the emulsion character-
istics. The knowledge would be so
detailed as to be only of laboratory
interest and would not be of value to
film users in such form.

However, these spectrograms are re-
produced here to show that the color
sensitivity of the two films is essen-
tially the same. No regions of the
spectrum included in the older pro-
duct are omitted in the new and no
large changes in relative sensitivity
to different colors have been intro-
duced.

The scale of reproduction of the
spectrograms is too small to allow
much reliable comparison of general
film speeds therefrom. With this in
view, H and D curves are presented
in Fig. 2. The curves were plotted
from exposures made in a non-inter-
mittent time scale sensitometer, using
a tungsten lamp as light source. The
exposures for the curves marked
"white" were made with the light
from the tungsten lamp falling di-
rectly on the film.

For the curves marked "red" a
Wratten "A" filter was placed in front
of the light which was kept burning
at the same position and brightness
as for the "white" exposures. In a
similar manner the exposures for the
"green" and "blue" curves were made
by the use of "B" and "C" filters re-
spectively.

The sensitometric strips were de-
veloped together for eight minutes in
borax developer, with high agitation
of the developer during development.
Special Notably Faster

The comparison of these resulting
curves, in pairs, confirms quantita-
tively the fact which was qualitatively
evidenced by the spectrograms, that
there is no appreciable difference in
relative spectral sensitivity in the
two products. There is, however, a
notable increase in speed of the spe-

cial film over the regular. In actual
practice it has been found possible to
cut the set illumination from 40 to
60 per cent in using this DuPont spe-
cial panchromatic negative.

From these data it is evident that
the filter factors for the special and
regular panchromatic negative films
are the same within very close limits.
The lens stop or lighting used with
the special film should, of course, be
reduced to take account of the in-
creased speed, but the filter factors
themselves are essentially unchanged.

As all successful filter users know,
the correct filter factor for a given
set of conditions depends upon three
things, the filter, the lighting, and
the sensitivity of the film.

It is, of course, usual to specify a
certain type or source of light and
prepare a table showing the factor
by which the stop should be increased
to make up for the light adsorbed by
each of a series of filters. This is
thoroughly satisfactory only when the
light source is constant in quality
from time to time and place to place.

Daylight is not constant in either
way, but must be used for so much of
the work where a filter is needed that
filter factors for it are of great in-
terest. Table 1 gives filter factors
obtained in sunlight, and shows,
therefore, the factor by which aper-
ture or time should be increased to
compensate for filter absorption.

When Test Shot Is Indicated

Where the light quality is not that
of sunlight, these factors cannot be
expected to hold accurately and a
test shot should, of course, be made if
the work is quite critical. Experience
has shown that for shadow shots,
when there is an absence of sunlight
but a predominance of light from the
blue sky, the factors for blue absorb-
ing filters should be increased some-
what over the values given, and for
blue transmitting filters, if used,
somewhat decreased.

TABLE 1.

The body of the table gives filter
factor for the Wratten filters, desig-
nated by letter, for sunlit scenes, for
both DuPont special and regular pan-
chromatic negatives.

Filter Factor

DuPont Special

Filter

DuPo

nt Regular

2.2

3.1

The photo-micrographs in Fig. 3
show that the increase in speed has
not been at the expense of grain size.
The importance of this consideration
is obvious. The two photo-micro-
graphs were made under identical con-
ditions and represent directly a true
comparison of the grain sizes in the
two products.

Use of Lights

The dark room handling for camera
loading and processing both of these
negative films is most safely done in
total darkness. Light that does not
reach film does not fog it. Under
some operating conditions both on
commercial and experimental scale
total darkness is a considerable han-
dicap.

Practical experience has shown
that, where extreme caution is used, a
dim green safelight can be used,
which will permit some vision and still
not fog the film in exposures of a
few minutes duration. No such light
can be here successfully specified that
will meet all working conditions.

It is suggested, however, that where
such light seems essential, dim green
safelights be used and tested in place.
Such a test can readily be made by
exposing short lengths of the type of
film to be handled in some simple
holder such as a fold of black paper
or cardboard which will expose part
of the film to the light under test and
protect part from that light.

This may well be in the form of a
slide such that the protecting cover
may be moved back at specified time
intervals, allowing a series of expos-
ures on one piece of film. The thresh-
old of fogging action can readily be
determined in this manner with a
minimum of time, film and effort.

Developing such pieces of film will
quickly show whether an exposure of
any chosen duration at the selected
position will or will not produce fog
on it. Obviously no light can be
judged safe when it fogs film in a
time equal or less than the probable
exposure of the film to it in process-
ing. A factor of safety must always
be considered to allow for a possible

Fig. 1. Spectrograms on DuPont panchromatic negatives. A, Special. B, Regular.

April, 19 J 1

The INTERNATIONAL PHOTOGRAPHER

Five

DuPo/vr

Panchromatic

Fig. 2. H and D curves on DuPont panchromatic negatives. White: exposed
to tungsten lamp. Red: exposed to tungsten lamp through A filter. Green:
exposed to tungsten lamp through B filter. Blue: exposed to tungsten lamp

through C filter.

and probable variation in handling
time.

Second Safety Factor

A second type of safety factor must
be considered if light is used at more
than one stage, since harmful additive
exposures might occur to lights indi-
vidually judged safe enough. All of
these considerations should lead one
to handle and process the film in total
darkness unless the value of the pres-
ence of light is great enough to war-
rant adequate planning, testing and
continued watchfulness in use.

Where it has seemed desirable to
desensitize film to permit the use of
an increased amount of light to watch
development, the same procedure may
still be used. The increased original
speed of the special negative may, in
limiting cases, require the use of
slightly less light after desensitization
than could be used with the slower
regular negative, but in all tests made
desensitization of both was great
enough to permit very satisfactory
working light for development after
desensitization.

With all of these facts in mind, the
DuPont special panchromatic nega-
tive is seen to require no change in
technique of make-up, taking and pro-
cessing. In using it, all that is need-
ed is to cut the lighting and go ahead
in just the same way as with the reg-
ular panchromatic negative.

leleased in the United States. These
will be directed by Basil Dean.

Martin photographed two subjects
in England last year, Galsworthy's
"Escape" and "The Fourth Wall" by
A. A. Milne, so the present trip is a
return engagement. The pictures will
be photographed at the British Lion
studios, Beaconsfield, Bucks, England.
The studio is situated 8 miles from
Windsor and 28 from London.

Perry Brothers to Africa

Harry Perry and Paul Perry left
Hollywood March 16 for a six weeks'
trip to northern Africa to photograph
pictures in Multicolor for Brown-
Nagel productions. They will visit
among other places Morocco, Algeria,
Egypt and Mediterranean ports.

Martin Sails for England

To Shoot for Associated

ROBERT G. MARTIN, with the
camera department of Radio
Pictures, sailed for England
March 7 to be gone probably a year.
He will photograph for Associated
Talking Pictures, which is making a
series of six features for Radio to be

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British Plan College to

Train Screen Candidates

In Technique of Acting

I~aROM Trade Commissioner Canty
i comes a report that plans are
practically completed for the es-
tablishment of a training place for
film artists under the title of "British
Cinematograph Training College."
The head will be Lord Clanmorris,
who is personally interested in the
scheme, to which he has devoted six
months preliminary work.

According to a reported statement
of Lord Clanmorris it is the aim of
the scheme to discover and train po-
tential artists for the films. Pupils,
however, will be chosen by a careful
process of elimination, so as to pre-
vent the entry of unsuitable subjects.

Applicants must pass a preliminary
test, if they are considered as "possi-
ble," taking about fifteen minutes, for
which a nominal fee will be charged
(this is to prevent applications from
candidates who are not serious in
their intentions).

Those who pass the first test will
go through a course of training for
about a week, for which the fee will
be £1 10s., and at the end of that time
there will be a further elimination, to
weed out the students who prove to
be unpromising.

The remainder will be trained dur-
ing a number of terms for about a
year in deportment, stage acting, elo-
cution and make-up — in fact, in the
technical side of acting, and will be
taught the technical details of sound
lecording. The cost will be £13 10s.
a term of nine weeks. Premises pro-
viding for four studios are in view.
The general attitude of the trade is
reported to be distinctly favorable to
the new proposition.

Charney Off and Home Again

C. King Charney, Agfa representa-
tive, has returned from a two weeks'
visit to the factory of his employers
in Binghamton, New York.

•» .

3 -v-.v

Fig. 3. Photo-micrographs of grains

A, Special

ft o • ^.i I » „ • •

from DuPont panchromatic negatives.
B, Regular

Six

The INTERNATIONAL PHOTOGRAPHER

April, 1931

Super- Sensitive Cut Film Is Here

Eastman Announces New Panchromatic Emulsion

Under Inkies Is From Five to Six Times

as Fast as Par Speed Portrait

NEWS of one of the most re-
markable achievements in film-
making history is made known
through an announcement from the
Research Laboratoi'ies at Kodak
Park, Rochester, telling of a funda-
mental improvement of light-sensi-
tive emulsions that is sweeping away
many photographic difficulties of the
past and bringing a broader scope of
usefulness to photography.

The direct result of the discovery
is Eastman's new super-sensitive pan-
chromatic cut film.

With incandescent lamps the new
super-sensitive panchromatic film is
from two to three times as fast as
portrait panchromatic, a "speed" sen-
sation when announced two years
ago. The sensitivity of the super-
sensitive panchi-omatic film, usually
termed speed, is greatest when in-
candescent lights are used, because
this form of illumination contains a
higher percentage of red than day-
light or the light from arc lamps.

To give one the best idea of what
the extreme color-sensitivity of this
new super-sensitive film means to the
man who works with artificial light
we should compare it with Par-Speed
portrait film because this is a stand-
ard matei'ial used by both portrait
and commercial photographers.

With clear incandescent lamps the
super-sensitive panchromatic is from
five to six times as fast as Par-Speed.
This means that if you have been ac-
customed to making exposures of
from two to three seconds with Par-
Speed film your exposures with the
super-sensitive panchromatic would
be about one-half second. If you have
used enough light to photograph
children in one-fifth of a second with
Par-Speed your exposure with super-
sensitive panchromatic film would be
one twenty-fifth of a second — too fast
for a bulb exposure.

Great Possibilities

Such speed opens up unlimited
possibilities in both commercial and
portrait photography. The commer-
cial photographer will look upon this
increase in speed not so much as a
means of making fast exposures but
rather for the advantage of making
exposures with less light. When the
photographer goes on an outside job
he can feel safe with half his usual
amount of lighting equipment and
will secure twice as much benefit
from the illumination he finds on
location. And for studio set-ups,
which often require long exposures,
exposure time will be cut more than
half, which is a great advantage in
studio work.

The same applies to home portrait-
ure. Lighting equipment has made

the work of the home photographer
rather difficult. If he now has ample
light he can either be relieved of
much of his burden, or shorten his
exposures and be more certain of
negatives which do not show move-
ment. This latter procedure is the
logical one for photographing chil-
dren.

Industrial photographers are often
faced with the problem of obtaining
sufficient artificial lighting for sub-
jects such as "long shots" of factory
interiors or close-ups of machines
with operators. Flashlights are banned
in many plants, although the new
photo-flash lamps have entirely elim-
inated smoke and the fire hazard.
Since the super-sensitive panchro-
matic film is especially efficient under
artificial light industrial photography
is obviously simplified.

First, photographers will no longer
be required to clutter working areas
with large numbers of heavy lamps,
and thereby avoid hampering general
factory operations.

Second, the amount of electric
"load" is cut down.

Third, where the usual amount of
artificial light is available much
shorter exposures are possible. This
is valuable in arresting the motion of
people or moving objects. If shorter
exposures are not required smaller
lens stops can be employed to increase
sharpness and "depth of field."
In Standard Sizes

The value of the super sensitive
panchromatic film is equally well ap-
plied to industrial photo-micrographic
work, such as studies of metal struc-
ture. The qualities of the new film
will answer the requirements for
combining speed, color sensitivity and
fine grain.

The advantage of reducing expos-
ures to a minimum when working
under artificial light is highly valua-
ble in doing live model work. No
longer are models required to endure
long, strained poses that often result
in stiff and ungraceful postures, and
incidentally a series of "retakes."

In the past it has not been uncom-
mon for model "shots" to require five,
ten seconds — even more — quite a long
time for any but highly trained mod-
els to remain motionless. Short ex-
posures usually result in more pleas-
ing poses.

The new panchromatic emulsion is,
in addition to all standard sizes for
still photography, available in 35 mm.
motion picture film. Industrial pho-
tographers who do motion picture
work will find that when using the
super-sensitive panchromatic film un-
der incandescent lamps the usual
amount of light can be reduced from

one-third to one-half. This factor is
very important in modern time study
of factory operations with the motion
picture camera.

The sensitive emulsion of this new
film is very closely related to one
prepared for astronomical photog-
raphy, as well as to the new
Wratten hypersensitive panchromatic
plates for the high-speed require-
ments of newspaper photography
under artificial light.

Cut More Than Half

Astronomers, it has been learned,
used the new emulsion recently in
making observations seeking to dis-
cover whether there is moisture in
the atmosphere of Mars. The neces-
sary time for exposing the plates in
the spectroscope was reduced from
ten hours to four in the observations
in question.

Eastman's new super-sensitive pan-
chromatic film presents the very
great advantage of speed without the
sacrifice of those qualities so essen-
tial to fine portraiture or commer-
cial photography. It has fine grain,
excellent exposure latitude, and builds
up in the developer without blocking.

There is one very important pre-
caution in the use of this new film
which is necessary to good results.
A film so sensitive to light of all
colors cannot be exposed to light of
any color in a dark room without no-
ticeable "fogging." The film must be
opened, loaded and developed in total
darkness. After about five minutes
of immersion in the developing solu-
tion, a certain amount of desensitizing
takes place permitting the use of a
Series III Safelight for the remain-
ing period of processing. It is rec-
ommended that the time and temper-
ature method of development be used
when working with this high-speed
emulsion. Once the time and temper-
ature system is established as stand-
ard practice, it will be found to be
the most satisfactory method of de-
velopment.

Photography, the universal lan-
guage, has received a valuable addi-
tion to its "vocabulary" by the advent
of the super-sensitive panchromatic
film, which will afford the modern
photographer new worlds to conquer.

German Companies Decrease

During 1930, according to the Ger-
man press, a total of 156 companies
is reported to have liquidated affairs
in the German motion picture indus-
try, as against 153 newly founded con-
cerns. It is stated that the first fig-
ure does not include liquidations by
legal authorities, so that the real
number of companies failing is dis-
tinctly superior to that of the new
organizations.

Inasmuch as share capital of the
companies is considered, it appears
that there is a total increase of some
2,000,000 marks capital invested in
limited liability concerns, liquidations
still being left out of consideration.

April, 1931 The INTERNATIONAL PHOTOGRAPHER Seven

A PLEDGE

To Theatre Owners, Managers
and Projectionists to Maintain

TRADE MARK REGD.

SUPREMACY

It has been our responsibility to satisfy the
needs of the motion picture industry and
to meet many emergencies created during
a period of extraordinary expansion and
unparalleled activity.

TRADE MARK REG'D.

THE INTERNATIONAL PROJECTOR

INTERNATIONAL PROJECTOR CORPORATION

90 COLD STREET NEW YORK

Eight

The INTERNATIONAL PHOTOGRAPHER

April, 1931

' Under Paris Roofs' Good Picture

France's First All Talker to be Shown in America

Fascinating Subject with Simplicity

Outstanding- Note

FRANCE'S first all-talking film
to be sent to the United States
is "Sous Les Toits de Paris"
(Under the Roofs of Paris), shown re-
cently at the Filmarte in Hollywood.
Not exactly is it all talking in so far
as concerns the recording of all con-
versation. The French have recognized
that much lip movement is seen in
ordinary life without the accompany-
ing sounds reaching the ear of one
outside the immediate circle.

And so it is in this Rene Clair film.
Much of the action is in intelligible
pantomime, the vocal or audible con-
versation being the exception rather
than the rule.

Even to one who has no more con-
ception of French than he has of
Senegalese the picture is altogether
fascinating. One of the chief fac-
tors contributing to this charm is its
simplicity — in story and in treat-
ment being strongly reminiscent of
the Griffith Biographs of twenty
years ago. Practically in its more
than an hour and a half of running
there is not a silk hat or a silk stock-
ing in evidence.

The tale is around the plainest and
most humble of persons. There are
a street singer and his chum; there
is a girl seemingly of the street and
yet when the test comes apparently
is something else again; and there is
a real mean heavy who neither toils
nor spins. There are honest men and
there are thieves. And there is an
accordeon player, as tireless as he
is skillful. From him we hear much
— but never too much.

Story Told by Camera

The story is told by camera nearly
altogether, with Perinal and Raulet
behind the lens. In one of the se-
quences in which is established the
background for the title the camera
is tilted down from an apartment

Pola Illery

house roof, reaching into each of the
successive five floors — with a shot
into the not altogether blinded win-
dows. Nothing shocking results,
although some spectators seem to be
all prepared for the worst. The
illusion really is quite complete.

If the memory serve it is on one of
these exploratory excursions we meet
up with the heroine — as she is en-
gaged in adjusting the garters on
her stockings. It is possible the mem-
ory does not serve; maybe it was not
the heroine.

Another notable factor of the pic-
ture is the close attention given by
those responsible for the recording,
Messrs. Storr, Merhenn and Le Hen-
aff, to make certain the volume of
sound corresponds to the apparent
distance existing between its source
and the camera, with due regard of
course to intervening obstacles. The
sound rises or falls as a character
enters or leaves a door, for instance.

The story grips through strength of
appeal in literary quality rather than
from the display of physical force.
The only notable departure from this
rule is in a street duel with knives,
a really thrilling sequence.

There are numbers of lighter mo-
ments. Just to enumerate one of these,
Pola has been escorted home by Al-
bert, the singer. When he begs the
privilege of going to Pola's room the
young woman says him nay. As
Albert finally and reluctantly leaves,
Pola thinks of her nightkey a short
time before lifted from her purse
by the husky parasite Fred, who even
then may be on his way to use it.

Pola runs to join Albert and tells
him of her predicament. The singer
extends the hospitality of his room,
which is accepted. A fade-in discloses
Pola in bed, with Albert in pajamas.
When the singer moves to get into
bed, too, the riot starts.
Near Hysteria

In disgust Albert puts out the
light. A second later a flood of rapid
and heated conversation bursts —
the room being in utter darkness ex-
cept for the faint backlight proceed-
ing from a half window behind the
bed and across which flashes an occa-
sional declamatory even if shadowy
arm.

The reaction of the scene on the
femine portion of what may be de-
scribed as a high class house is
marked, particularly among those pal-
pably understanding the staccatissimo
verbal duet. It ranges from mirth to
near hysteria.

The battle suddenly ends as Albert
retires from the field and turns on
the light. Pola climbs out of bed, too,
peevishly yanks a blanket from it and

curls up on the floor alongside. Albert,
like a true Frenchman not to be out-
done in politeness follows suit — and
apparently quite as put out about the
situation as the lady — takes the re-
maining blanket and parks on the
floor on the other side. Before the
fade-out there is a whimsical smile on
the face of Pola.

In the morning as the pair are
leaving the room Pola invitingly up-
turns a very sweet face to receive the
kiss Albert tenderly implants.

There is a surprising twist to the
finish, wherein for no apparent good
reason at all as mere man is per-
mitted to diagnose the situation the
heroine transfers her affections to
Louis, the friend of Albert. But mere
man knows only too well that fre-
quently in life even if seldom in fic-
tion such things really do happen.

Frank Clifford directs this inter-
esting subject from the scenario and
continuity of Rene Clair. The roles
of Albert and Pola are taken most
creditably by Albert Prejean and
Pola Illery.

That the picturegoers of Holly-
wood are deeply concerned about
"Under the Roofs of Paris" is indi-
cated by the remark of Manager Fred
Budrow of the Filmarte that practi-
cally every major studio had sought
a loan of the print. The statement
reflects the good judgment of the
studio chiefs. There is much in the
craftsmanship of the picture from
which Americans — or others — may de-
rive benefit from analyzing.
France a Pioneer

The younger generation of picture-
makers may rest under the delusion
that because some of the important
inventions underlying the making and
projection of pictures originated here
Uncle Sam always has been at the
head of the motion picture procession.
Of course in full truth he has been in
no such position.

Twenty years ago France plainly
was in the lead in artistic picture pro-
duction— and so remained up to the
outbreak of the war, when practi-
(Contiynted on Page 27)

Albert Prejean

April, 19S1

The INTERNATIONAL PHOTOGRAPHER

Nine

Shooting JVhales with the Camera

How the Tars of New Bedford Worked in the Days

of 1850 When Men Had to be Men Because

Whales Were Whales

By MAURICE KAINS

ON Washington's birthday, 1922,
the Gaspe, a 125-foot fishing-
boat equipped for whaling and
photographing, set sail for the Carib-
bean Sea from the home of the whal-
ing industry, New Bedford, Mass. A
group of religious folk sang hymns
and prayed for our safe and success-
ful return, just as they had done in
1850, when whaling- was a major in-
dustry.

As we pulled away from the pier
we could hear the voices becoming-
fainter and fainter. To tell the truth,
we of the movie group were getting
fainter, too, for none of us had ever
seen a whale except in our school
geography books.

Fortunately our captain and crew
were "old timers." This was a little
consolation for us. Frequently cam-
eramen are sent out to photograph
the capture of a whale as they are
caught at the present time, by shoot-
ing at it from the comparatively safe
deck of a good sized boat, and from a
safe distance.

But we realized we were up against
a different proposition, for our story,
laid in 1850, required that we catch

our whales as the whalers had done
in the old days, a method fraught
with risks and hardships. The cam-
era work was in charge of Alexan-
der Penrod of Local 644 and Paul
Allen and myself, now of Local 659.

The crew, ranging from college
boys to Portuguese negroes, were all
glad to see land again after two
weeks of "bum grub." A very im-
portant little black man came out to
our boat one morning to pilot us into
the Ozama river and show us where
we could cast anchor.

I shall never forget his air of big
responsibilities as he perched himself
alongside of our captain, holding a
large, faded umbrella over his official
eyes, and shouting commands in
Spanish to our crew as he puffed on
a very large but cheap cigar. At
last we had arrived at Santo Do-
mingo, resting place of one Christo-
pher Columbus. Our purpose in stop-
ping here was to have two marine
tripods built for us out of Ford parts
and five-gallon oil cans.

During the wait we shot market
scenes, the prison and inmates, the
famous church where Columbus is

said to rest, and tried to get interior
shots of the Three Eyes underground
lakes and caves, but our flares filled
the caves with white smoke, which
we could not get out, so we lost those
scenes. The reflections of the ceiling
on the lakes were magnificent while
they lasted.

Thar She Blows!

We had no sooner arrived at our
whaling grounds off the coast of Haiti
when we heard "Thar she blows," and
the chase was on. Quickly the crew
lowered four small whaleboats. One
of these was powered with a motor,
and also had a marine tripod "made
fast" to the seats. The close-ups and
chase shots were all made from this
craft. Of course the camera was mo-
tor driven, too.

There were at least a dozen whales
within easy calling distance of us.
They were easily approached from
the rear, as they were swimming only
about six miles an hour and could
not see us as we attacked from this
angle. Penrod was so engrossed in
getting his shots that he had not no-
ticed four big sperm whales charging
his boat from behind. Paul and I
were set up on either end of the
Gaspe. We shouted a warning to
Penrod, but he could not hear us. On
came the four monsters, and it looked
like curtains for Penrod.

But, believe it or not, those whales
lost their nerve or something, and
just as they were three feet from the

In the main picture we see what a part of the flukes or tail of a 67-foot, 100-ton whale looks like. Maury Kains is
behind the whiskers in oval. The reason for the bathtub shoivn on the right will be found in the very respectably
sized shark (13 feet) suspended alongside — the presence of these monsters in the ivaters about the whaler making
swimming out of the question for a man having wholesome regard for the integrity of his anatomy. The pictures of
the flukes and of the shark were photographed by Alex G. Penrod, Local 6UU, who met so tragic a death in the ex-
plosion of the sealer Viking, March 15, in Newfoundland ivaters.

Ten

The INTERNATIONAL PHOTOGRAPHER

April, 1931

craft they slipped gracefully under-
neath and rose on the opposite side,
blowing their stinking breath almost
in his face. The other whaleboats
meanwhile were after the rest of the
family.

Equipped to Kill

Each whaleboat is completely
equipped to capture and kill a whale.
There are harpoons, long handled
lances, tubs of carefully coiled rope,
sharp knives and a heavy brass rifle
which shoots a large dart into Mr.
Whale's department of the interior.

If he shows too much fight a bomb
is used. This explodes after arriving
at its destination. The coiled rope is
placed astern and is passed over the
tops of the oar handles so that it can-
not entangle the feet of the crew and
pull them overboard during a battle.
Then it is passed through a pulley or
an eyelet at the bow of the boat and
then fastened to the harpoon.

One man it detailed to bail water
on this coil of rope after a whale is
hit because the rope passes through
the eyelet so fast that if the rope is
not thoroughly wet the boat would
catch fire from friction.

The harpooner is stationed in the
bow. He carries a razor-sharp knife
as well as several harpoons. This is
used when a whale insists on taking
the whaleboat on a "Nantucket sleigh-
ride," which is whaler's lingo for a
ride clear out of sight of the main
ship, the whale supplying free power.

If he succeeds in getting the boat
into deep water his trick is to "sound"
or dive, thus pulling boat and crew
under with him. It is at this stage
of the fight that the harpooner cuts
the line and the whale is allowed to
go free rather than take the risk of
swamping the boat with possible cas-
ualties.

After considerable maneuvering, we
finally struck a male and towed him
to our main ship, where the work of
"cutting in" is done, and the process
of "trying out" or getting the oil is
handled. If this is not done soon
after the death of the whale, the oil
quickly spoils and is worthless.

Whale Head Oil

A whale gives an unbelievable
amount of oil from the blubber, which
is ripped from the body in large
blankets of about a foot in thickness.
A large hole is cut in the top of the
head and a bucket is lowered inside
and a higher grade of oil is found in
a sort of well, enough to fill several
barrels. This is watch oil and is
quite similar to the oil we now use in
our cameras. Then there is some
wax, and the teeth are ivory.

In rare cases ambergris is found in
the intestines of a sick whale. This
is used in expensive perfumes and is
worth many dollars an ounce. The
odors of the processing, especially in
the tropics, is almost unbearable.

New Bedford, as it is today, with
its many prosperous cloth mills, has
been built up by the money it earned
with its old whaling industry.

The usual procedure after sighting
a whale is to lower the small whale-
boats and sail after the whale until
within a mile of him. Then the sails

are lowered so that he won't catch
sight of you. From now on you row
or paddle, making as little noise as
possible, and approaching him from
behind. When within ten feet of him
the harpooner throws his iron into
him and then the fun begins.

The whale dives and whips around
you in circles. Then he comes up
again and repeats. In fact he does
almost everything he can to scare you
or sink your ship. Sometimes he
comes close enough for the harpooner
to lance his heart and bleed him to
death. The waters become red with
blood. Or his lungs are punctured
and he spouts blood at every breath.
After a while he expires and is
towed alongside.

The sharks now begin to hover
around. They have scented the blood.
I missed one dandy shot for the need
of an Akeley camera. A large shark
had spotted the fin of the whale, and
it looked good to him. He circled our
ship a few times and then mustered
sufficient courage to seize the fin,
which was now projecting above the
surface of the water.

Shark and Whale

It was tough stuff. Vainly the
shark struggled on, lashing the water
into a fury with his tail. One of the
crew, who was standing on the "cut-
ing in" stage board, heard the commo-
tion behind him and turned inquisi-
tively. Seeing at a glance what was
going on, he grasped his "cutting-in"
spade, a sort of flattened out hoe with
a ten-foot handle, and drove it into
the shark with all his might. The
shark, with a mighty jerk, wrested
the spade from the man's grasp and
swam off with it sticking in his back.
I watched him for two full minutes
until he was completely out of my
sight, the harpoon still remaining up-
right above the surface of the water,
traveling along like the periscope of
a mighty submarine. And to think
that I missed that one because my
camera wouldn't "pan" fast enough
for me.

That night when Captain Tilton
saw what his men had brought in he
laughed them to scorn. It was "only
a baby" he guffawed. Thirty-four
feet long and "only a baby." I'd
hate to meet the folks.

But New Bedford must never hear
of this or we would be "raspberried"
for life. So we had to stay down
until we had caught a few more.

Finally we hooked a sixty-seven
footer, weighing nearly a hundred
tons. Some bacon to bring home.
But we finally did, as was proved by
the miraculous whaling scenes shown
in our production, "Down to the Sea
in Ships," which caused a sensation
everywhere it was shown, a tribute
to the courage and art of the cine-
matographer.

Chronic mal de mer had reduced
me to a mere shadow of my former
self. I swore by all that I held holy
that I had made my last whaling trip.
Then Roy Klaffki sent me to meet
Irvin Willat, who had heard that I
had been on a whaling picture. Mr.
Willat, too, was making a whaling
epic, entitled "All the Brothers Were
Valiant."

So after we caught the whale for
Willat we punctured its lungs and
filled them with compressed air and
floated it into port. And again I
swore I would never again go whal-
ing. But you know I would, don't
you, "for art's sake"? Ain't that just
like a cameraman?

P. S— "All the Brothers Were
Valiant."

How the Juicers Describe
the Tools They Use When
Talking Among Themselves

Light is their stock-in-trade; they
furnish it in any quantity and quality
desired.

They are the electricians who sup-
ply the illumination without which
no interior motion picture scene could
be taken.

Their position on a film set is com-
parable to that of the construction
crew which takes the blueprints of
the architects and creates realistic
backgrounds from drawings and lines.

For the electrician, with light as
his material, builds a background of
effects from the instructions of the
cameraman.

To stroll on to a Paramount stage
and listen to S. H. Burton, chief elec-
trician, and Jim Tait, his assistant,
talk about lighting the set, one would
be bewildered by the expressions used.

To begin with, Barton is known as
the "gaffer" and Tait the "best boy."
Their crew are "juicers" and they
deal in "juice." They call for light
with the term "hit 'em" and extin-
guish the same with "save 'em."
When they finish a set, it is "wrap
'em up," meaning to remove all "iron"
(equipment).

They speak of "inkies" (incandes-
cent lights), "coopies" (Cooper-Hew-
itts or hard lights), "broads" (box-
like lights), "G. E.'s" (incandescent
light bulbs), "scoops" (hanging broad
lamps), "silks" (coverings to soften
lights), "spiders" (electrical oscilla-
tions), "kliegs" (carbon arc lamps),
"sun arcs" (huge carbon lamps),
"gobos" (small shield to cut off part
of the light), and "18's," "24's" and
other similar terms to designate
lamps of certain diameters. When a
set is "hot" it has an abundance of
light.

Ail-American Salon to Be

Opened June 15 at Museum

AN All - American Photographic
Salon is announced for June
15-30, to be held in the Print
Rooms of the Los Angeles Museum.
New prints which have never been
exhibited in Los Angeles or repro-
duced before January, 1930, are pre-
ferred and no hand-colored prints
will be accepted. Mounts of light
color, size not more than 20 inches
either way, are specified for better
harmony of the exhibition. An entry
fee of $1 will be charged.

Everyone is invited to submit
prints. Requests for entry forms and
complete information should be di-
rected to the All-American Salon
Committee, Los Angeles Museum, Ex-
position Park, Los Angeles.

April, 1931

The INTERNATIONAL PHOTOGRAPHER

Elevn

Thorough tests

TELL THE TRUTH

^fe products recent-
ly were adopted by Paramount-
Publix Corporation as standard
equipment. This decision is the
result of numerous and strenu-
out tests given J^c^J lighting
equipment, together with com-
petitive products, in an en-
deavor to determine the type and
make of lamp best adapted to
motion picture production of
today.

Outstanding features of
JZ&ecJ^fe equipment — de-
pendability with low operating
cost that could be determined
only after comparative tests had
been made over considerable
length of time — are important

i i

If It

s not a

reasons why Jgczcc products
have been standardized by the
Paramount organization.

In the dependability of
JZ&eeJZ^te* is incorporated ab-
solute silence with exceptionally
efficient performance — while
low cost of operation is due to
light weight, ease of handling
and faultless construction.

In its standardization of
JZ&cc equipment, Paramount-
Publix Corporation is assured
of the consistent cooperation of
Lakin Corporation in its en-
deavor to perpetuate the excel-
lent performance of the 500
jZ&gc units now employed by
the Paramount organization.

it's not silent!

y j

LAKIN CORPORATION

707 Naud Street

Los Angeles, California

CApitol 14118

Twelve The INTERNATIONAL PHOTOGRAPHER April, 1941

MAZDA . . . NOT THE NAME OF A THING BUT THE MARK OF A RESEARCH SERVICE

TOl fsri

HL*-Tv""Ke

'««> and straw, T I

^ers Last Year

1930S BEST
PICTURES

ALL QUIET

ON THE WESTERN FRONT

ABRAHAM LINCOLN
HOLIDAY
JOURNEY'S END
ANNIE CHRISTIE
THE BIG HOUSE
WITH BYRD

AT THE SOUTH POLE

THE DIVORCEE
HELL'S ANGELS
OLD ENGLISH

Again . the best

USED MAZDA LAMPS . . .

/\GAIN in I930, MAZDA lamps played an important part in the
production of the best pictures of the year.

This predominance of MAZDA lamps for lighting as well as for record-
ing and reproduction of sound is significant. Of the ten best pictures,
seven used MAZDA lamps exclusively, while two of the others used
MAZDA lamps in paTt.

Every type of General Electric MAZDA lamp used in motion picture
photography is the result of millions of dollars and many years spent in
research and test applications. That MAZDA lamps should contribute to
the outstanding success of the year's best pictures is not only logical — it is
inevitable because the past achievement, present acceptance and future
promise of MAZDA lamps have made them indispensable to the cin-
ematographer.

The continued identification of G. E. MAZDA lamps with the best
productions is assured by theiT quality, and by the devotion of the engi-
neers who constantly improve them to the cause of ever better cine-
matography. National Lamp Works of General Electric Company, Nela
Park, Cleveland, Ohio.

Join us in the General Electric pTOgTam, broadcast every
Saturday evening over a nation-wide N. B. C. network.

ELECTRIC

MAZDA®LAMPS

April, 19 SI

The INTERNATIONAL PHOTOGRAPHER

Thirteen

1930 Equipment Exports Gain

Estimated Nearly Twice the Value of 1929
the Field Including Sound and Lighting
Apparatus — Europe Best Customer

By N. D. GOLDEN

Assistant Chief Motion Picture Division

PRELIMINARY figures of the Bu-
reau of Foreign and Domestic
Commerce show that during 1930
$9,172,824 worth of American motion
picture equipment was exported to
various regions of the world as
against $1,442,803 worth of similar
equipment during 1929. Unfortu-
nately during 1929 sound apparatus
and arc lamps were not listed under
export classification. It is safe, how-
ever, to estimate that approximate
three and a half million dollars worth
of this equipment was exported dur-
ing 1929.

Assuming this estimate in the ab-
sence of accurate figures to be a fair
one and coupled with the above figure
for other types of motion picture
equipment, our exports for 1929 were
approximately $5,000,000. Our ex-
ports of motion picture equipment for
1930, therefore, show an increase of
approximately $4,000,000 over the
preceding year.

A total of 2160 American motion
picture projectors of the 35 mm. type
were exported to all foreign markets
during 1930 having a declared value
of $599,046 as compared with 1989
projectors valued at $592,319 during

1929. Europe was our best customer,
buying 1052 American projectors with
a declared value of $231,601 as com-
pared with 837 projectors valued at
$260,736 during 1929.

Second in importance is the Far
East, importing 628 American ma-
chines valued at $145,445 during

1930, as against 399 of our projectors
with a value of $119,764 for the year
1929. Latin America is our third
largest purchaser, importing 263 pro-
jectors with a value of $127,387 dur-
ing 1930, as compared with 348 pro-
jectors with a value of $114,092 dur-
ing 1929.

Canada is next, importing during
1930 134 American projectors valued
at $40,132, as against 330 projectors
valued at $74,475 during 1929.

Near East and Africa is the last
region of importance. During 1930,
83 projectors with a value of $54,481
were exported to this section as com-
pared with 75 projectors valued at
$23,252 during 1929. The following
comparative table shows the exports
of American motion picture projec-
tors of 35 mm. type to the various
regions of the world, together with
exports to our first ten individual
markets.

Motion Picture Projectors 35 mm.

1929

Number Value

Europe 837 $260,736

Far East 399 119,764

Latin America 348 114,092

Canada 330 74,475

Near East and Africa, 75 23,252

Total 1989 $592,319

1930

Number Value

Europe 1052 $231,601

Far East 628 145,445

Latin America 263 127,387

Canada 134 40,132

Near East and Africa 83 54,481

Number Value
646 $144,063
49,521

Total 2160 $599,046

1929
Indiv. Markets Rank Number Value
United Kingdom. 1 552 $152,958

Japan 3 130 22,876

Canada 2 330 74,475

France 5 80 38,368

British India 14 32 19,532

China 9 57 9,392

South Africa 6 72 22,679

Switzerland 19 22 4,588

Spain 10 46 20,207

Australia 7 66 29,492

1930
Indiv. Markets Rank
United Kingdom. 1

Japan 2 339

Canada 3 134 40,132

France 4 126 23,276

British India 5 77 27,984

China 6 77 15,466

South Africa 7 76 52,161

Switzerland 8 73 15,238

Spain 9 66 19,435

Australia 10 55 14,126

Projectors Less Than 35 mm.
During 1930 there was a drop in
our exports of 16 mm. projectors
amounting to 677 projectors. During
1930 we exported to all markets of
the world a total of 1634 substandard
projectors valued at $148,266, as
against 2311 American projectors
with a value of $212,947 during 1929.
The following table shows our ex-
ports of substandard projectors both
by region and by leading individual
markets :

1929

Number Value

Canada 214 $24,185

Far East 1263 103,952

Europe 689 65,685

Latin America 128 16,682

Near East and Africa. 17 2,443

1930

Number Value

Canada 580 $43,769

Far East 442 37,458

Europe 375 36,627

Latin America 223 28,019

Near East and Africa 14 2,393

Total .

.1634

$148,266

Number Value

214

$24,185

883

70,268

228

14,167

3,283

9,816

11,795

2,804

1,525

3,686

4,322

1929
Indiv. Markets Rank

Canada 3

Japan 1

United Kingdom. 2

Argentina 14

Switzerland 7

China 6

Chile 20

Sweden 16

Spain 9

France 11

1930
Indiv. Markets Rank Number Value

Canada 1 580 $43,769

Japan 2 297 24,684

United Kingdom. 3 133 6,934

Argentina 4 75 7,917

Switzerland 5 61 8,674

China 6 58 3,717

Chile 7 45 9,028

Sweden 8 43 5,844

Spain 9 41 1,798

France 10 28 4,204

Sound Apparatus and Parts
The year 1930 is the first in which
a separate classification for sound ap-
paratus has been made. During 1930
a total of $7,736,059 worth of sound
equipment and parts were exported
to the geographical regions as indi-
cated in the following table:

1930

Europe $4,522,354

Far East 1,378,507

Latin America 1,196,278

Canada 404,044

.Near East and Africa 234,896

Total 2311 $212,947

Total $7,736,059

Of the leading individual markets,
United Kingdom and France are our
leading markets. The following table
shows our exports of sound appara-
tus to the first ten leading markets:

Leading Individual Markets, 1930

United Kingdom $2,390,456

France 1,032,860

Australia . 452,952

Canada 404,044

Italy 344,928

Philippine Islands 197,226

New Zealand 194,102

South Africa 192,609

Brazil 181,752

Spain 179,174

Other countries which have pur-
chased over $100,000 worth of Amer-
ican sound apparatus are as follows:
Chile, Mexico, British Malaya, British
India and Belgium.

The year 1930 is also the first in
which arc lamps for motion picture
projectors are classified. During this
period a total of 967 lamps with a
value of $121,645 have been exported.

Fourteen

The INTERNATIONAL PHOTOGRAPHER

April, 19. j l

Volume of exports to the leading- mar-
kets and geographical regions is con-
tained in the following table:

Arc Lamps, 1930

Number Value

Europe 671 $77,172

Canada 115 22,204

Far East 89 14,228

Latin America 82 7,610

Near East Africa 10 431

Total 967 $121,645

Leading Individual Markets, 1930

Number Value

France 361 $10,105

United Kingdom 303 66,544

Canada 115 22,204

New Zealand 42 6,714

Panama 24 765

China 15 2,260

Mexico 15 2,381

Japan 12 1,107

Australia 11 1,758

Cuba 11 691

There is a slight decline in the
number of 35 mm. cameras exported
during 1930 as compared with 1929.
During this year 946 cameras were
exported to all countries as com-
pared with 1038 during 1929. While
the quantity of our camera exports
has dropped during 1930 the value
has increased. Value of cameras ex-
ported during 1930 amounted to $405,-
906, as compared with $364,544 dur-
ing- the year 1929.

The following comparative table
shows the exports of American cam-
eras of 35 mm. type to the various
regions of the world together with ex-
ports to our first ten individual mar-
kets:

Motion Picture Cameras, 35 mm.

Number Value Number Value
Europe ... 512 $169,897 537 $214,808
Far East.. 262 104,479 261 101,505
Latin

America.. 162 53,505 80 57,571
Near East

and Africa 26 7,138 42 16,924
Canada ... 76 29,525 26 15,098

Total 1038 $364,544 946 $405,906

Leading Individual Markets, 1930

Rank Number Value
United Kingdom. 1 325 $78,369

Japan 4 82 22,962

Switzerland 14 15 2,686

France 2 86 41,509

British India 11 23 15,617

Italy 24 5 3,862

South Africa 12 20 2,678

Germany 7 37 26,840

Canada 5 76 29,525

Spain 21 6 2,780

Rank Number Value
United Kingdom. 1 193 $71,478

Japan 2 129 39,165

Switzerland 3 76 11,624

France 4 69 48,202

British India 5 56 27,306

Italy 6 51 22,364

South Africa 7 36 14,983

Germany 8 31 16,464

Canada 9 26 15,098

Spain 10 26 17,157

Exports of motion picture cameras
less than 35 mm. have fallen off near-
ly 46 per cent during 1930. The table
below gives a comparative picture of
our exports of this type camera for
the year 1929 and 1930:

Cameras Less Than 35 mm.

1929

Number Value

Far East 1606 $126,250

Europe 802 75,317

Canada 361 26,021

Latin America 262 41,556

Near East and Africa, 51 3,849

Total 3082 $272,993

1930

Number Value

Far East 640 $62,131

Europe 447 45,952

Canada 386 23,103

Latin America 193 28,938

Near East and Africa, 11 1,778

Total 1677 $161,902

Alex G. Penrod as He

Was Nine Years Ago

On the page opposite are repro-
ductions of snapshots of the late
Alex G. Penrod, 6Uh, lost in the de-
struction of the sealer Viking off
Newfoundland March 15. these
pictures were taken at the time
"Down to the Sea in Ships" was
photographed in southern waters
in 1922 and are from the records of
Maury Kains, 659, who was an as-
sociate of the late cameraman on
that production..

In the center Mr. Penrod is
shown adjusting his hat. Next to
him is Elmer Clifton, director, and
to the right Mr. Kains In the up-
per left the cameraman is shown
at the sewing machine making cos-
tu7nes. In the opposite corner,
photographed as the vessel is enter-
ing Santo Domingo harbor, from
left to right are Elmer Clifton,
Raymond McKee and Mr. Penrod.
In the lower left the cameraman
is shown at the right of the cam-
era. In the center examining a
strip of still negative are from left
to right Mr. Penrod, McKee, Paul
Allen, C>59, and Clifton. On the
right the cameraman shoots down
on a 'long side scene.

Leading Individual Markets

1929

Rank Number Value

Japan 2 577 $55,410

Canada 3 361 26,021

United Kingdom. 4 284 11,544

Switzerland 5 273 28,941

Argentina 7 93 21,834

Netherlands 12 34 3,800

China 6 119 10,115

France 15 31 4,452

Mexico 13 34 2,485

Sweden 18 26 6,650

1930

Rank Number Value

Japan 1 502 $44,890

Canada 2 386 23,103

United Kingdom. 3 204 10,426

Switzerland 4 103 10,954

Argentina 5 86 17,194

Netherlands 6 47 9,392

China 7 45 5,349

France 8 35 4,813

Mexico 9 27 2,894

Sweden 10 17 5,445

To Penrod: A Tribute

THE loss of Alex G. Penrod, Lo-
cal 644, in the sinking of the
sealer Viking in Newfoundland
waters March 15 was a stunning blow
to the friends of this beloved brother.
The cameraman was a member of the
expedition headed by Varick Frissell,
who also was lost in the disaster. It
is the opinion of the captain of the
vessel that the explosion occurred dur-
ing the taking out of powder for use
in smashing ice the day following.

The magazine adjoined the quarters
of the officers of the craft and of the
members of the motion picture expe-
dition. The explosion destroyed the
entire stern of the vessel, which sank
shortly following.

It was my good fortune to know
Brother Penrod intimately. I worked
for him in 1921 on "Silas Marner"
and again in 1922 on "Down to the
Sea in Ships." I have never worked
with a finer man. He was a hard
worker, conscientious, Godfearing — a
good husband and an affectionate
father.

I recall our arrival in Santo Do-
mingo, where Brother Penrod received
a wireless from his wife telling of the
passing of their baby. His conduct
following this heartbreaking news be-
spoke the man. He went right ahead
with his work and turned out a most
successful production.

To Mrs. Penrod, one of the best and
bravest, the sincere sympathies of a
host of friends will be extended.

M K.

German Invents Superior

Type of Photoelectric Cell

A GERMAN trade paper reprints
the report of a lay organ deal-
ing with the work of Dr.
Bruno Lange, assistant at the Insti-
tute for Silicate Research of the
Kaiser Wilhelm Gesellschaft, Berlin,
in connection with the transformation
of light energy into electrical current.

Dr. Lange is credited with the in-
vention of a photoelectric cell, which
is supposed to be superior to the vari-
eties now in use. It is said to gen-
erate a stronger current, though the
currents that it has so far been pos-
sible to obtain were not sufficiently
strong to permit the use of the cell in
the motion picture industry without
the addition of amplifiers.

According to a reported statement
of the inventor, the use of the cell
would reduce amplification by one, or
possibly two, stages, but it is insisted
that there can be no question of using
the cell altogether without amplifiers.

British Censor 141 Films

During the month of December,
1930, there were submitted to and
passed by the British Board of Cen-
sors a total of 141 films — 44 of which
were American, 58 British, and 38
from other countries; 119 were syn-
chronized and 22 silent; 82 were
shorts and 59 features, of the former
of which 72 were short sound films
and of the latter 47 were feature
sound films, according to Trade Com-
missioner Martin H. Kennedy, Lon-
don, in a report to the Department.

April, 19.11

The INTERNATIONAL PHOTOGRAPHER

Fifteen

Sixteen

The INTERNATIONAL PHOTOGRAPHER

April, 1931

era

IRA HOKE

There and Back

"Shack" Shackelford tells about a
Chinese prisoner who was being led
to execution by a squad of Mongolian
soldiers. The day was wintry and a
chilling rain pelted down heartlessly.

"What wretches you Mongols are,"
grumbled the doomed one, "to march
me through a rain like this!"

"How about us?" retorted one of
the soldiers. "We have to march
back."

Oh! My Dear!

Bob Bronner— That girl on the Fol-
lies set shows distinction in her
clothes.

Bob Tobey — You mean distinctly,
don't you?

But It Helps

The Judge had a burglar on the
spot.

"I see from the police report," said
the judge, "that besides the contents of
your victim's purse, which amounted
to some $300, you stole his watch and
chain, his DuPont pencil, his East-

man monotone filter, his fountain pen,
and his tripod cranks."

"Yes, your Honor," replied the
prisoner, "I remembered just in time
that money alone doesn't bring happi-
ness."

Reload — Quick !

Harry Gant, well known producer
of negro talkies, tells this one on a
Mobile mammy and her "wuthless"
spouse.

Seems Rastus had been sentenced
to 30 days on the chain gang for
stealing a ham. Only a week of this
time had elapsed when Mammy ap-
peared before the judge requesting
that Rastus be pardoned and returned
home.

"Why, said the judge, "do you think
he has repented so soon, Mammy?"

"No sah, jedge," said she, "but de
truth is we is plumb out of ham."

Penny for Her Art

"Yes," said the charming actress,
"I have had letters of applause from
England, Ireland, and Wales, and,"

Ilzari Kardi Breaks Out Again

Hon. H'Vv'aid Hurd & Brother, Business Representative, Location 659.
Dear Mr. & Sir:

Excuse it please another letter from Japanese asst. cameraman.

The ether day it made occurrence to my memory what tremulous
savings to the m.p. industry would be enjoyed if cameras were only
ground out silently. Hon. sounding artist on our company requires me
to make a covering for my camera consisting of the following articles:

1. Very horse-smelling blanket with hairs to get in film move-

ment.

2. One patchworking quilt with inside cotton worked into large

lumps.

3. One ruberized sheet for babies.

4. One large pad for putting under cheap rugs to make them

feel high class.

After placing these 4 articles on top of photographic camera, my
Hon. cameraman complain the finder has misplacement of imagination
and with aid of stepping ladder I must remove above listed 4 articles
of silence, make checkroom of finder, then replace operation as before
described in par. one. As this wastes much time and expenses for Hon.
producer, as well as complete exhaustion to nerves of cameraman I wish
to present to you the following saturated solution.

My cousin, Shinmatsu Moto, enjoys ice cube making electric refrig-
erator for putting in ginger ale etc. Mostly etc. This device inwardly
contains machinery more intricate than camera and motor, yet it makes
complete operation so noisless that never is my cousin's cat, Kobi, awak-
ened from nap-sleeping on top of machine cabinet in smoked herring
box with red letters.

The Academy of Motion Picture Art and Silence asks in question
mark to camera profession what to do with blimps and horse-smelling
rugs. I have made very high power solution of this query. Take all such
to incenerator at back end of lot. Next take insides from ice cube re-
frigerators and construct into cameras with finders close to lens which
make no noise to corrupt mortality of sound artists.

This will make camera department enjoy very long life of happiness.
Hoping you are same,

Fraternally yours,

IKARI KARDI.

with a twinkle in her eyes, "postcards
from Scotland."

Marital Ties in the Jungle

Clyde DeVinna tells about a hen-
pecked husband in the African jungle
who was accosted on the village clear-
ing by a breathless savage who
brought tidings of importance. Ac-
cording to the translator their hurried
conversation was something like this:

Breathless native — Quick, Moto, a
tiger has just run into the house
where your wife is.

The Henpecked villager — Well, he'll
just have to get out the best way he
can.

The Works

First scenario writer — Did the sur-
geon remove the apppendix?

Second scribe — Feels to me like he
removed my whole table of contents.

Yes, Mr. Webster

Down in the DuChrome Film Sys-
tem office a neat little sign settles once
and for all the definition of a "spe-
cialist." It reads:

A specialist is one who learns more
and more about less and less until
eventually he knows everything about
nothing.

l\o Such Luck

One of Friend Baker's young hope-
fuls had canvassed nearly all the drug
stores in Beverly Hills before a pre-
scription clerk 'phoned the lad's
mother and told her this one. Seems
the youngster approached the drug-
gist thus:

Baker Jr. — Are you out of stock of
caster oil?

Druggist — Why, no, buddy.

Baker Jr. — Well, I've been sent to
get some, and I jolly well mean to find
a druggist who is.

Oh! That Shape

Cutter Girl — What is the shape of a
kiss?

Cameraman — Well, give me one,
sis, and I'll call it square.

Pocahontas Done This

Steve Newman tells this one of a
large meeting of a plumbers' union
some years ago. During the meeting
a messenger rushed to the platform
and after seeking the business agent's
permission called out:

"Is Mr. Smith in the hall? I am in-
formed that his house is on fire."

Fifty gentlemen leaped to their feet.

"It is the house of Mr. John Smith,"
added the informant.

"Thank heaven!" exclaimed one of
them, resuming his seat.

Oh! Gee Whiz!

Henry — Gosh! Give a look at her.
Bob— Her what?

^I'Q,.

Qream oth Stills

t**"^

Z?ert Anderson catches this spirited combination of horse and rider just at the crest of the rise — in the flash
that precedes resumption of all fours by the graceful animal

Here is a bit of palm
and cloud and roof
of thatch and away
in the distance a
glimpse of
The South Seas
as seen by
Bob Roberts
in Tahiti

Speaking for itself,

Hidden Lake,

Conjilon, New Mexico,

is here revealed

through the medium

of the camera of

Edward H. Kemp

.^'d,.

@ream oth Stills

cfWo*.

W. J. Van Rossem
catches this beam
of sunlight as it
strikes Old Ocean
along the shores
of Malibu, north
of Santa Monica,
in California

More than a
hundred miles to
the south Robert
Tobey near La Jolla
patiently waits
for a shot
at the departing

Qream oth Stills

Fred Arc/ier gives us aw insight into life along the placid canal passing through Clamecy, France

April, 1931 The INTERNATIONAL PHOTOGRAPHER Seventeen

TWICE AS FAST!

JuASTMAN Super-Sensitive Pan-
chromatic Negative, Type 2, has at
least double the speed of ordinary
negative, under artificial light. It
has a finer grain, and very decided
developing latitude. In addition it
retains all the advantages of regu-
lar Eastman Panchromatic Negative
. . . and the price remains the same.
Use this remarkable new film in
your next picture. Eastman Kodak
Company, Rochester, New York.
(J. E. Brulatour, Inc., Distributors,
New York, Chicago, Hollywood.)

Eastman Super-Sensitive

Panchromatic Negative, Type 2

Eight i < a

The INTERNATIONAL PHOTOGRAPHER

April, I9.;i

Over the Grapevine

JACK BARNETT and a suburban
blonde are on fire . . . Brother
Martin is that way too . . . News-
reelers all agog over proposed agree-
ment; it's up to Pat Casey now . . .
Ralph Lembeck producing pretty noth-
ings from a new recorder . . . Bob
Duggan has been throwing 2,000 amps
around Baltimore recently for good
ol' Western Electric . . . Prexy David
showed the projection brethren how
they make 'em at the recent operators
ball ... So did Jimmy Creighton . . .
Gene Cour has phffft from Pathe . . .
Likewise Fred Geise, Johnny Zimmer-
man and Walter Hotz . . . Hotz is
snaring the elusive striations for Bur-
ton Holmes . . . Charley Ford and his
Chi Daily News ramblers just com-
pleted 'nother lip flicker for Bill
Thompson — Charley hasn't decided
whether it'll be French Lick or Hot
Springs this time . . . Big stuff brew-
ing at Spoor-Ahbe emporium; here's
hopin'; they deserve it . . . Ralph

Bv NORMAN W. ALLEY

Editorial Note

WITH this makeup the 666 sec-
tion of International Pho-
tographer has a new com-
piler. We accepted the post only
•after exhausting every effort to
keep Brother Birch on the desk.

Harry has been devoting con-
siderable time to this page in the
past and has asked to be relieved
because of pressing business mat-
ters. We hope that we will have
the same good co-operation which
Harry enjoyed and that you fellows
in the field will help us carry on by
sending any news or notes of local
interest before the 10th of each
month. N.W.A.

Biddy tuning up his eight cyl DeBrie
prepping for the 500-mile snort . . .
Red Felbinger and his flame are cry-

Harry Vallejo, the photographer, has withdrawn from his archives thin first
picture of the Keystone Cops, the leader of a long line of laughmakers. The
subject tens produced late in 1912. The personnel of the "force" would indi-
cate Sennett was a good picker of "comers." But rending from left to right:

Robert Z. Leonard, Mack Sennett, Bill Haber, Henry (Pathe) Lehrmann,

Mc Alley, Chet Franklin, Ford Sterling, Fred Mace, Arthur Tavaras.

ing it out . . . Bull Phillips has re-
vamped the old stand; quite an im-
provement . . . Bob Travenier seems
to be dunking plenty of film through
his north side lab . . . Way back when
Bull Phillips and Charley David burnt
the set after one of those not so 40
pichurs; 'tis claimed chaise lounge,
bed room fixtures and all went sky-
ward . . . Eddie Morrison took a lot
of excess baggage to Detroit one
stormy night . . . Felbinger fought the
German building fire out in Jackson
Park . . . . Them were the good ol'
days!

SIX-SIXTY-SIX

Talkies and Politics

Talking pictures used by Mayor
Thompson in his battle for re-election
prove the value of this medium in the
political field.

Thompson won his primary fight
against the most colorful opponent
with which he has had to contend. He
did so by making the widest use pos-
sible of talking films, giving his plat-
form views to the Chicago public from
almost every street corner. It was an
expensive program, but well worth
the experiment. The Chicago Daily
News in co-operation with Avery
Chereton and his Vita-Glow record-
ing system produced the film which
consisted of three reels, and did a
very creditable job of it. Tommy Mal-
loy, business manager of Operators
Local 110, arranged for the portable
projection throughout the city and it
is worthy of note that the public re-
action toward "Big Bill" was aided
a great deal by his winning screen
personality.

SIX-SIXTY-SIX

Folks We'd Like to Hear From

Walter W. Bell

Pete Shamray

Gus Petersen

Al Wetzel

George Gibson

Joe Johnson

And some more of you bonus spend-
ers who fought the battle of Paris
back in '18.

5IX-SIXTY-

The Sassiety Reporter

We are proud to announce that our
Sassiety reporter has assured us he
will continue to hammer out his col-
yum, and we have, in turn, assured
his red-hedded highness that as in
the past there will be no editorial re-
strictions to worry about.

April, 19.11

The INTERNATIONAL PHOTOGRAPHER

Nineteen

In Focus — In Spots!

By the Sassiety Reporter

WELL, old Harry Birch, who was
the head man of this here page,
has went and retired from pur-
suing his journalistic endeavor to en-
lighten youse birds on what's what.
So I guess I'm the only one of the
old school of fearless exposin' what's
left on the staff of the PAge.

Mr. Norman Alley filed the neatest
application for the job of about sixty
coorrespondent school journalists, so
he fell into Harry's old job of Page
Engineer. As the said new head man
is one of them modest birds about
giving the up and up low-down of
his abilities maybe this here depart-
ment ought to give a analize of the
new editor and maybe how he ought
to edit this page.

Mr. Alley (I got to call him Mr.
because after all he's the bird what'll
pass on my stuff) should open a sports
department on our PAGe because he's
one of these expert dopesters what
no's what nag is comin' through in
the fifth race.

He is a real expert because no
horse he has picked has ever been
found after the race was over. His
columns on golf should be a big help
as Alley has killed more snakes on
middle western fairways than any you
birds. He is also gifted in dealing
faro, blackjack and always has a
ace or two extra to go with his poker
face.

As to his general editorial ability
this ought to be a picture PAGE now,
as he is a good photog when it comes
to writin' news. Regardless of the
new scribe's abilities and policies I
assure youse there ain't no change
going to be made in this column's fear-
less honest time worn yarns.

Well, good luck, Alley, on the new
job of slinging the ink — but keep it
clean.

SIX-SIXTY-SIX

About That Newsreel

I'm sittin here in a one-movie town
near Detroit writin' this and it's a
heluva job tryin' to be funny about
youse birds seein' as how I just blew
back from the movie Emporium and
the pitcher was "East Lynne."

It wuz allright, but they didn't show
no newsreel, so I ups and axe the
bird what runs the joint — "H o w
come?"

So he says, well he had one of the
latest issues up in the booth, but
seein' as how there wasn't a story
on prohibition in that reel maybe the
customers wouldn't ketch on it was
a newsreel if he put it on.

SIX-SIXTY-SIX

Handing Jones a Medal

The other night the A.A.U. hands
Bobby Jones a medal for bein' the
best sport of 1930 (which didn't in-
clude axing newsreel men to shut the
camera off while he was putting). As
it happened in Chicago most of the
666 historians ankled the equipment
up and got there before the groceries
were served.

Well, quite a few familiar faces
were at the press (deadbeat) table.
President David was surrounded by
Norman Alley, Harry Neems, Red

So They Tell Me

Stocks may be bouncing up and
down on the big board in Wall
street, but they are going definitely
upward with the camera twisters
on May 1 when the initial fee
shoots to $1,000.

It's a bull market from now on,
and the wise boys will reap. Every
meeting of the six-sixty-sixers
seems to bring out an increase in
attendance, which is a healthy con-
dition and shows that the members
are becoming more and more inter-
ested in union matters. N. W. A.

Tonny Caputo and his sound man
Saunders set their truck in front of
Mr. Capone's private squad car, and
Red Felbinger put his baby moving
van behind it in the hopes Scarface
Al would "say a few words for the
talkies," but the way that guy breezed
out of police headquarters and into his
car is nobody's business.

After counting up the footage the
boys got on Al's exit from the bastile
building, Pres. David suggested he
would use a slow motion camera to get
some decent footage on our leading
citizen the next time he covered him.

SIX-SIXTY-SIX

Felbinger, W. Robertson for the feed.
Later the gang sizzled Bobby Jones
under the "inkies," proving he's a
right good sport.

SIX-SIXTY-SIX

Capone Not So Sloiv

Mr. Alphonse Capone, who rates as
Citizen No. 1, showed up in the Windy
Burg the other day. Well, it's always
the custom of the 666 newsreelers to
cover the "big shots" when they ap-
pear, so everybody turned out includ-
ing Charlie Ford, prima donna of the
Daily News Screen Reel. Charlie
talked a heavy Eymo. Norman Alley,
impressario of the local Fox office,
skipped breakfast to focus Charlie
Geis's groan box, because Charlie had
lumbago or sumpin in his neck and
couldn't get the old eye down to the
finder.

Unreconstructed Rebel

I got a letter from George Gibson,
the hot air expert on celluloid, tellin'
me the company what furnishes his
pay check has invented a new raw
stock that's so fast you gotta hold
your hand over the lense to prevent
over-exposure, and here in Chicago
we got Charlie Ford and Charlie
David braggin how they makes scenes
at the Stadium with this same light-
nin' film.

Yours trooly wants to issue a state-
ment that he is still battin' out movies
on good ole regular stock which gives
a guy a break to smoke a cigarette
while loading magazines in a impro-
vised darkroom in a country hotel
bathroom.

Just a old fashioned boy of the ole
school still making pictures. Maybe
I stop down wide open, but they still
use 'em now and then.

Audio-Camex portable equipment in the studio of Smith and Aller, where a
group of cameramen made tests with the Eastman super sensitive panchroma-
tic negative and the DuPont special panchromatic negative, each lighting a set
according to his own ideas and using each film. Max Firestein of the Max
Factor office conducted the make-up for the tests. In the picture left to right
are Cliff Thomas and Art Reeves, who compose the Hollywood Camera Ex-
change; B. J. Kroger, Harry Anderson; seated, Mickey Whalen, Jackson Rose.
Other cameramen who attended and conducted tests were Alvin Wyckoff, Dev
Jennings, Bennie Kline, Ira Morgan, Ross Fischer, Al Gilks and Guy Neivhard.

■"*

or J*' r/

Lfw

■ JH If m

" •**' Jmrnm fl T MB

1 v**^ : n^

Twenty

T h

INTERNATIONAL PHOTOGRAPHER

April, 19S1

Up to the Mountains and

IF by any chance you are among
those who rest under the belief
that the big breaks in Hollywood
go only to some particularly fortunate
maiden fair or even to some youth
with waving locks you will be in-
formed to the contrary by Clifton L.
Kling, the young man who photo-
graphed the widely varying and strik-
ing examples of camera art shown on
these two pages.

For Kling is very certain such a
thing as a break most certainly came
his path five years ago when without
previous experience in a camera way
with other than the motion type he
was pitchforked into the still camera
department of one of the major stu-
dios. Incidentally from that day to
this he has never lost a dav — which

in itself is an achievement as Holly-
wood studio records go.

Prior to 1926 Kling had worked on
straight motion picture cameras. One
of his last engagements with this type
of instrument was with the late Larry
Semon.

It was while with the comedian he
received a mystifying call from a
large studio, mystifying in so far as
it indicated it was for still work, a de-
partment with which he was practi-
cally unacquainted. Deciding to find
out what it was all about a call at
the studio brought word the party
sending for him was not at the mo-
ment in but his secretary said it was
desired for him to go right to work
and satisfactory compensation would
be adjusted.

April, I"-! I

The INTERNATIONAL PHOTOGRAPHER

Twenty-one

wn to the Sea with Kling

The photographer does not care to
go into details in outlining the embar-
rassments of the first few days, but
by adhering to a policy of a tight lip
(Continued on Page 24)

The Pictures:
Upper row, from left to right —
This is not one of those set-back sky-
scraping office buildings but an excel-
lent view of Morro Fork Rock, Bryce
Canyon, Utah. No-. 2, Pine Ledge,
Cedar Breaks, Utah. No. 3, Arch
Rock, Bryce Canyon. No. 4, Castle
Rocks, Bryce Canyon. One need not
be a geologist to enjoy contemplation
of this rarely beautiful photograph
of a bit of mother earth that needs
have no hesitation in revealing evi-
dences of its age, of the inconceivable

forces that has been exerted on these
castellated cliffs.

Centre left, a bit of Bryce Canyon.
Centre right, the other half of the
same photograph.

Lower left, two oystermen at St.
Michaels, Md., preparing for the day's
work. Lower right, the oyster fleet
returns to its anchorage for the
night.

Captain A. W. Johnson of the U.
S. S. Colorado looks across the harbor
at San Pedro, at. the battleship New
Mexico and the Palos Verdes hills be-
hind it.

At Long Beach a quintet of RKO
girls do their rhythmical stuff on tin
sands.

Centre, lower, an old tramp at Wil-
mington, Calif.

Twenty-two

The INTERNATIONAL PHOTOGRAPHER

April, 1931

Looking In on Just a Few New Ones

STRANGERS MAY KISS

William, Daniels, Cameraman

HERE is a picture you may write
home about, this "Srangers
May Kiss," which M-G-M has
produced with Norma Shearer in the
leading part. It is a production
which rings the bell from all major
angles- — and these include story, dia-
logue, direction, photography, record-
ing and individual characterization.
To those interested in photography
the charm of the picture will be nota-
bly enhanced by the superb work of
Daniels and his associates.

Another major factor of the pro-
duction is the dialogue. It is striking
in its sparkling quality, in its smart-
ness, if you will. It has that unforced
spontaneity so far removed from the
labored wisecracking of the lesser
powered writers or selective assem-
blers that constitutes it a genuine de-
light to the ear.

The characters are persons of edu-
cation and sharp wit if not of large
means, and it is with unerring skill
the conversation reflects that situa-
tion.

The story is from the book by Ur-
sula Parrott, the source of "Divor-
cee." The dialogue and continuity
are by John Meehan, with George
Fitzmaurice directing.

Although Miss Shearer dominates
the tale from beginning to end it is
not because she is designedly given
the benefit of no opposition. To the
contrary, there is an abundance of it,
with opportunities going to Robert
Montgomery, Marjorie Rambeau,
Irene Rich, Neil Hamilton and others.

Miss Shearer has the role of Lis-

By GEORGE BLAISDELL

beth, a woman in love with Alan, por-
trayed by Hamilton, a world wander-
er on assignment who believes not in
marriage and is able to instill into
Lisbeth his views on the relation of
the sexes. The affection of the woman
for the man is so deeply rooted she
follows him to Mexico. Here the two
live happily until the man is ordered
south on board a naval vessel. Lis-
beth's dream is ended.

The locale changes to Paris, where
two years later we find the heroine.
Later it shifts to New York.

"Strangers May Kiss" is a wom-
an's story — a natural matinee subject
of great appeal — but nevertheless the
female of the species if as wise as
she is reputed to be will not rest until
she has secured the attendance at the
picture of her particular male pos-
session, whether it be a full-fledged
sidekick or something else again.

Somehow the male person emerges
from the picture somewhat plucked
of his plumage, not quite such a shin-
ing example of God's great gift to
his immediate community as he would
have his neighbors believe; in fact on
the whole quite humbled.

On the female side of the cast
Irene Rich is Celia, whose kindly ad-
vice to Lisbeth regarding the beau-
ties of marriage as she has found it
for a dozen years gets a rude check
when the husband is caught stepping
out. Then there is Marjorie Ram-
beau, she of the breezy manner and
keen wit, in the part of great and
sincere friend of Lisbeth. Each of

these talented women is a tower of
strength to the production.

On the male side Robert Montgom-
ery is Steve, the unsuccessful suitor
for the hand of Lisbeth. Steve's phil-
osophical and good-tempered accept-
ance of secondary position is delight-
fully interpreted and worthy of study
by those short-tempered, brusque
males who never seem able to con-
trol their tongues or their manners
in the presence of a successful rival.

To Neil Hamilton falls what proves
to be the semi-heavy part of success-
ful lover, a role at times requiring the
sacrifice of anything resembling audi-
ence sympathy. The job is done fear-
lessly.

We reiterate, it's a picture to write
home about.

Les Rowley takes his camera into Elysian Park

ILLICIT

Robert Kurrle, Cameraman

BARBARA STANWYCK enters
Warner Brothers' story of "Il-
licit" as a good actress. She
emerges from it as somethnig else —
something more than a good actress.
There will be those who after follow-
ing through with her in the final half
reel of the picture will have no hesi-
tation in declaring she will qualify as
a great one.

Miss Stanwyck's performance is cu-
mulative. Starting easily and natu-
rally from zero she establishes her
command of the auditor's sympathy.
In spite of the unconventional char-
acter of the part assigned to her,
that of a woman deeply in love with
a man yet who refuses to marry him
while agreeing to live with him out of
marriage, her hold is strengthened
steadily until the finish.

Archie Mayo is the director of this
tale of New York today and gives us
a result most creditable to himself
and those who created the tale. Har-
vey Thew adapted the screen play and
dialogue from the stage production
by Edith Fitzgerald and Robert Ris-
kin.

The brief program of Warners'
Hollywood Theatre refers to the sub-
ject as "a smart, sophisticated story
of ultra moderns." That is a fair
characterization, a truthful one. Mod-
ern the subject certainly is.

Long-haired adult males outwardly
inclined to the sanctimonious view-
point, stern-faced adult females of
the congenitally inclined "Thou shalt
not" stripe — the smudgy stuff of
which censors are made — unanimously
will roll their eyes and point down
their thumbs. But the crowd will say
"It's good entertainment." And that
verdict in the future as in the past
will continue to be the answer to the
prayer of the showman reverent and
otherwise.

It's a good cast that is marshalled
behind the star. James Rennie is the
lover who insists on becoming a hus-
band and who wins only to lose and
again to win in the end — which fact
will contribute to lessening in dimen-

April, 19.31

The INTERNATIONAL PHOTOGRAPHER

Twenty-three

sions the elongated faces of the afore-
said adult m. and f. persons.

Charles Butterworth is the society
drunk who contributes to reducing
the tension of serious situations — and
in notable degree. Claude Gillingwa-
ter is the father of the in and out
husband — and gives a most likable
and sympathetic portrayal.

Ricardo Cortez is the seeker for the
hand of the heroine, both before and
after marriage — and as to the latter
institution of the same opinion as the
woman he loves. The authors have
made Price Baines a reasonable
heavy, one without a trace of the
deep-dyed quality so easy to impart,
even one that may take the honors
from the husband in the case of some
of the women customers.

To Natalie Moorhead is assigned
the major position in the quadrangle,
that of Margie, who would take over
the possession of the husband under
any circumstances and whether the
wife wanted him or not.

Exhibitors likely will be interested
in the commercial slant assumed by
the dialogue at times. Probably there
will be no complaint at the size of
the imprinted "Brunswick" plastered
across the radio used in one of the
scenes, inasmuch as the manufacturer
of that instrument is a Warner sub-
sidiary. There are other and notable
instances, however, of dragging in ad-
vertisers by the heels that may arouse
interest.

The listener to a broadcast may
tune out when he runs into too heavy
a dose of advertising. The screen cus-
tomer is "hooked," his money is rung
up, and he is helpless. It will be in-
teresting to observe how far the ways
of the commercial broadcaster suc-
cessfully may be extended to the
screen.

Coming back to "Illicit," it's an in-
teresting picture four-fifths of its
run. The final fifth puts it into tne
major category, one that's worth
walking a mile to see.

MAN OF THE WORLD
Victor' Milner, Cameraman

THERE is a particularly effective
bit of business in Paramount's
"Man of the World," with Wil-
liam Powell at the head of the cast.
The star, a crook, in love with an
honest girl, has to the latter confessed
his real identity and the story of his
black blackmailing doings. The other
woman, a partner in crime and in
love with him, when the prospective
bridegroom has told her what he has
done proceeds more in sorrow than in
anger to tell him a thing or two — all
to the effect that though the bride-to-
be now knows the truth the end of
the black past is not and never can
be. It will rear its head at most un-
expected moments to redisgrace them
both.

The words bui'n themselves into the
mind of the man who for a few hours
had believed he could see his way out.
As he walks along the street he hears
the voice of Irene — the audience hears
it — as she serves notice on the now
thoroughly enlightened and deeply

disturbed man as to what will hap-
pen if he leads Mary to the altar.

In the past we have been given to
understand what is passing through
the mind of a person by a simple
process of double exposure of the in-
dividual of whom he is thinking. In
the present instance we hear the fate-
ful words that are hammering on his
brain.

While the novelty may mystify
those less acquainted with picture
technique or the mentally inalert in
spite of the vision of the two women
— the bride-to-be and the old flame
who has administered the warning —
shown just before the reproduction
of the words, nevertheless to those
who catch its significance it is most
impressive.

The story portraying Powell as a
blackmailer may not entirely please
the feminine admirers of the chief
player — if by any chance it be true
he has 'em — but surely in its finale it
will square with the more or less in-
exorable demands of stage justice, if
we accept as full atonement his sin-
gularly effective method of renuncia-
tion of the woman he loved.

Carole Lombard is Mary, visiting
Paris with her uncle and who falls in
love with Wagstaff, expatriated
American. Wynne Gibson is Irene,
the partner business and otherwise
of Wagstaff, and finely plays a diffi-
cult part. Guy Kibbee is Taylor, the
American visiting Paris but uninter-
ested in monuments, horses and other
things of which there ar-e plenty in
America.

The story was written by Herman
J. Mankiewicz and directed by Rich-
ard Wallace.

The locale of the entire picture is
Parisian. The atmosphere of the
French capital would seem to be ex-
cellent, which remark also may be ex-
tended to the few lines of French
indulged in by Powell. The remark

distinctly does not apply to the play-
er's continuity when with stick in
hand he essays to set a few pieces of
type. The result is just pi. A cap C
and a lower case h and a three-em
space in that order will start nothing
intelligible to the average printer.

For those who at least are open
minded and not antagonistic toward
crook pictures "Man of the World"
will make excellent entertainment. Its
makers are to be congratulated on
the courage displayed in the ending.
If it be not what the sap would call
"happy" it surely is logical and sat-
isfactory.

VIENNESE NIGHTS

James Van Trees and Frank Good,
Cameramen

NOTHING the Warners have
done in twenty or more years
of catering to picturegoers will
give them a better claim to the con-
sideration of their patrons than "Vi-
ennese Nights," the screen operetta
composed by Oscar Hammerstein 2d
and Sigmund Romberg. The subject
is described as being the first of its
kind to be written directly for the
screen.

Strangely enough, instead of pro-
viding a more or less perfunctory peg
upon which to hang a number of
songs and choruses this operetta will
more than hold its own as a straight
dramatic production. It is a fact, and
that it is such again is emphasized as
a singular one, that "Viennese
Nights" has in its generous length
not only the entertainment quality
that attaches to excellent music and
singing but all the illusion and deeply
moving heart interest that would be
found in an unusually good screen
drama.

In making this strong statement
the writer is taking into account fac-
tors having nothing whatever to do

Here is another view of this neglected beauty spot of Los Angeles

Tin at i/-four

The INTERNATIONAL PHOTOGRAPHER

April, 1931

with his own intense reactions to the
vital appeal of the story. He is throw-
ing into the balance the deep silence
of a crowded house which on two oc-
casions was borne into his conscious-
ness when for a flash he became dimly
cognizant of things around him.

The period of the story extends
from about 1880 to 1930 and traverses
three generations, the second of
which is not registered on the screen.

Vivienne Segal above all others is
the center of interest in the part of
Elsa, girl of dreams. Alexander Gray
as Otto, the poor musician she loves,
by his work adds materially to the
pull of the tale. So, too, does Walter
Pidgeon as Franz, the soldier who
wins the hand of Elsa.

Louise Fazenda comes pretty near
stealing any sequence in which she is
given half a chance, but the opportu-
nities are comparatively limited. Bert
Roach is Gus, the practical friend of
the dreamer Otto, and stays with the
story throughout its length and to
its advantage.

Jean Hersholt as Hocher, father of
Elsa, plays the scoundrel when the
daughter is tricked into marrying the
man of position and means.

That the all Technicolor "Viennese
Nights" will be a success is forecast
by the reception accorded it in Los
Angeles. Plainly it has been on the
shelf quite some time since its com-
pletion, presumably because its mak-
ers were afraid to release it on ac-
count of it being a musical, some
months since assumed to be anathema
or something like that to the public.

As always has been the rule — that
one success will upset all the croak-
ings of the witch doctors paid by pro-
ducers and distributors to interpret
public opinion — we now may expect
other musical productions. If the
ones to come are as good as the sub-
ject herewith reviewed the public will
flock to see them. If among them
there be those coming under the clas-
sification of "just another picture,"
the public won't do anything of the
sort.

LOOSE ENDS

Claude F. Greene, Cameraman

WHY in the world when a for-
eign company is making a pic-
ture with the intention of giv-
ing it distribution away from home
does it restrict the action to inte-
riors the like of which constitutes no
thrill abroad — means not a thing to
the expectant picturegoer?

Why doesn't it go into the English
countryside and show us a bit of the
landscape famous the world over?

These are questions an American is
bound to raise after looking at the
British Elstree's production of "Loose
Ends," directed by Norman Walker
and shown at the Filmarte. The pro-
ducer seemingly has taken the play
by Dione Titheradge as it was on the
stage and bodily transferred it to the
screen. In any event the action has
been restricted to a half dozen in-
teriors.

The criticism is not leveled at the

play itself but rather at its treat-
ment or lack of screen treatment in
ignoring the external, the physical,
factors that would be of advantage to
a production seeking recognition
abroad.

The first half or third anyway of
the story did not give occasion for par-
ticular attention. The opening chat-
ter of the first reel was marred by
lack of intelligibility, by indistinct-
ness in enunciation or possibly ab-
sence of volume. But this handicap
was short lived.

Once the story began to unfold, as
it did with the introduction of Owen
Nares as Malcolm Forrest, the in-
terest rises. Nares is seen as the
head of the cast carrying the role of
a man of mystery who marries a suc-
cessful actress.

The climax comes when a newspaper
uncovers Forrest as a one-time lifer
for murder. After twenty-four hours
in hiding the disgraced man looks up
Brenda, friend of Nina, his wife. He
learns the actress wants a divorce,
and looks to Forrest to provide it.

The man admits his helplessness
and declares he cannot aid Nina.
Brenda intimates all he needs is co-
operation and she would guarantee
that was found. Forrest senses the
situation, but in spite of Brenda's love
for him he still wants his wife. So
Brenda goes to the front for him, and
things are straightened out.

Three persons stand out in the sto-
ry— Nares, Edna Best as Nina, and
Adrianne Allen as Brenda. While
the latter has the secondary feminine
position she goes a distance toward
stealing the honors in that division.

The story in the second half makes
a notable pull upon the auditor's sym-
pathy, markedly so nearing the close.
With the exception noted the sound is
satisfactory. As to the photography
no exceptions will be indicated.

TABU

Floyd Crosby, Cameraman

WHAT H. J. Flaherty did for the
entertainment of the world
with "Nanook" he has in asso-
ciation with the late F. W. Murnau
accomplished with "Tabu," which
Paramount will distribute. To be
sure, the one was the story of a battle
for life in the arctic north and to that
degree was more eloquent in realism
than a tale of the South Seas, where
one may get sustenance without en-
countering the perils that attend the
northerner in his hunt for it.

Nevertheless Murnau and Flaherty
brought back a well-organized picture
— one having behind and under it not
only a story with a plot but also a
cast of native players who so far as
could be discovered are under no ob-
ligations to extend any honors to their
white brother and sister players re-
gardless of identity.

Particularly does the immediately
foregoing remark applv to Reri the
Girl and to Hitu the ' Old Warrior.
Matahi the Boy was very fine in his
characterization of the lover of Reri,
but he was in fast company.

The screen states only native born
South Sea Islanders appear in the
picture, with a few half-castes and
traders, but the girl in feature and
in charming bearing looks very much
the Anglo-Saxon. It is certain her
general appearance is going to be the
object of real attention on the part of
some of her white sister players less
fortunately favored in face and figure
and, what may be true, too, in brain
capacity and acting ability.

Murnau chose for his vehicle a story
of the islands, of the chiefs making-
selection of a maiden to represent the
best in humankind, a saintlike crea-
ture upon whom no man should lay
hands. To all men she was there-
after to be "Tabu." The tragedy of

(Continued on Page 38)

With Kling and His Camera

(Continued from Page 21)

as well as a stiff one he discovered he
was being given credit for being a
"wise one."

The answer is that Kling remained
at that studio for three and a half
years, since which time he has been
one year at R-K-0 and for months
now at M-G-M.

Kling has come to the very definite
conclusion he prefers still work to his
first love of the motion picture cam-
era, for one reason the nature of the
work seeming to allow more latitude
in the way of individual initiative.

The photographer believes with a
good whist player that if it be impor-
tant to know the rules of the game
and how to play them it is of even
greater importance to know when to
break them. As to the latter he is
under the impression that in the cover
of International Photographer for
March he fractured a few of the ac-
cepted rules of composition. Inciden-
tally we might tell this young man
that so far as we know the cover
attracted more favorable attention
than any of its recent predecessors —
which is saying something more than
a little.

The magazine Screenland in its
award for March of its "Best Still of
the Month" chose one of the subjects
of Kling, as it has done on six occa-
sions previously in the preceding two
years, action in itself which describes
the young man's standing among his
brother stillmen.

In answering a question regarding
the photographs of Bryce canyon,
shown on the upper row, the photog-
rapher said some of the rocks towered
2500 feet sheer. To obtain these shots
it was necessary to make a trip of five
hours by burro, but it will be agreed
the result was well worth the trouble.

St. Michael's, the town behind the
oystermen shown on the lower cor-
ners, figured prominently in the war
of 1812. Here the natives in order to
deceive the gunners of the British
fleet hung lanterns in the trees, and
the cannon balls went over the town.
Two of these missiles still are im-
bedded in the trees.

*•£?*♦

@ream a th Stills

<?tz,o+

Here is a pictorial tree on the shore of Lake George, in the high Sierras in California

Photographed by Ray Jones

d^Ofu

Qream oth Stills

C^'O*.

^■i.**

A. ' ^V"

. JW*^

■li^zj&toM

^^M^Hk^^HRfe ';::

■ ■ ■ {r ^n ■■!_"' jsysH

r jg

SOB 677

^tf'^^^B 35 *^^^^^^ j: '^B

JHiB^^iniMiteffcuM^i lL. *

r/iis brilliant

photograph was

exposed by

Rutph Eyarger near

Huntington Lake

in the high

Sierras

Daiud Ragin has

labeled -most aptly

this view of

Mount Whitney

near Lone Pine, Cal.,

"The Open Road."

Surely it is wide

open enough for

any one

,.*5*r^.

@ream oth Stills

c^L'O^

Here is a

reminiscence of

the old Kalem days,

or the O'Kalems as

members of the

company

facetiously described

themselves

twenty years ago,

photographed by

George K. Hollister

in Beaufort,

County Kerry,

Ireland

A scene in early May
at Eyak Lake, near
Cordova, Alaska,
photographed by
Pierre Mols

*°gr£*

Gream oth Stills

itfrafc

Esselle Parichy in Miami sends this interesting camera study of a friend and her three friends

April, 1931

The INTERNATIONAL PHOTOGRAPHER

Twenty-five

mateur J)epartment\

Home Equipment for Radio Stores

Stewart- Warner to Stimulate Summer Sales Will

Distribute on Large Scale As Unit

Camera, Projector and Screen

WITH the idea of offering the
radio dealer a new product that
will help him keep his summer
sales up to par the Stewart-Warner
Corporation of Chicago announces the
production of an amateur moving pic-
ture camera, the "Hollywood Model,"
designed by professional cameramen
of Hollywood who kept in mind the
thought it must be understandable by
amateurs.

The result, according to C. B. Smith,
president of Stewart-Warner, is an
amazing simplicity of operation, as
revealed through the finished work of
novices.

The amateur's common difficulty in
adjusting the lens to varying light
conditions is claimed to be eliminated
by a simplified gauge attached to the
lens which, when turned to one of five
plainly marked stops, admits the prop-
er amount of light into the interior.
Another development of the machine
is a sound counter that audibly
"clicks" as each foot of film passes
the lens.

It is supplemented by a regular vis-
ual footage indicator dial set in the
side of the case. By reducing the
usual number of moving parts in such
a machine the camera is said to be
"fool-proof" and practically free from
mechanical troubles.

An unusual plan for merchandising
the camera has been developed, some-
thing entirely different from what
has prevailed previously in this trade,
because, explains the president of the
company, "we are thoroughly con-
vinced such an article at the price
we have in mind will have a popular
appeal.

"Many years of experience with
mass production methods enable us to
produce a moving picture camera, an
article hitherto classed as a luxury
item, at a price which will rapidly
increase the growing popularity of
home movies."

The camera is extremely compact
and light, being 2 inches thick, 5
inches wide and 8% inches high. Its
durable construction recommends the
camera for a real traveling compan-
ion. A smart leather-bound carrying
case and strap are included. It is
made of duralumin throughout, with
etched satin-finished case and gun-
metal satin-finished lens mount. Load-

ed with 100 feet of film the weight
is 3V2 pounds. With case and shoul-
der carrying strap the new instru-
ment will retail at $50.

Plans of the manufacturers antici-
pate a new home projector and spe-
cial screen as accessories to the pres-
ent camera, these three products to be
offered as a unit at a popular price.

All of the experimental work on the

Hollywood Model Stewart-Warner
home movie camera

camera as well as the manufacture of
the initial 500 was done in Hollywood
under the supervision of Lewis Moo-
maw, oldtime picture producer, at a
factory on Santa Monica Boulevard.
The plant was moved to Chicago at
the end of February. It is the inten-
tion of the company to maintain a ser-
vice department in Hollywood in or-
der to take care of the requirements
of the western states.

Filmophone W ith Its New
375-Watt Lamp Projects

Well on 16-Foot Screen

IN Orchestra Hall, Chicago, re-
cently a travel lecture by Burton
Holmes was followed by an inter-
esting demonstration of the Bell &
Howell 16mm. talker reproducer, the
Filmophone.

In this demonstration, it is stated
a new model Filmo projector unit,
equipped with one of the recently per-
fected 375 watt lamps, threw per-
fectly clear pictures 16 feet 3 inches
wide on the screen, and the voice and
musical accompaniment could be dis-
tinctly heard in the farthest corner of
the big theatre which seats over 2500
persons.

The size of the picture on the screen
was determined by actual measure-
ment, and the quality and volume of
sound accompaniment was tested in
several parts of the hall, according
to those present.

The test of the outfit was staged by
the industrial film division of Burton
Holmes Lectures, Inc., after the au-
dience which had attended the Holmes
lecture had left the hall, although Mr.
Holmes and several of his friends re-
mained to see the results of the dem-
onstration.

"In the top gallery." says Burton
Depue of the Burton Holmes organi-
zation, "I could distinguish every
word coming from the loud speaker
on the stage, but for the life of me
I" could not tell where the speaker was
situated; it was too far away to be
seen from this point."

The Filmophone was placed in the
regular projection booth of the hall,
over 90 feet from the stage, and a
cord approximately 150 feet long was
extended from the booth to the loud
speaker. A regular two-inch lens was
employed in the projector.

The volume of the sound accompani-
ment is reported to have been so
great that it was unnecessary to ad-
vance the volume control to capacity.

Starting Film Library for

Ann Harding" s Daughter

When Jane Bannister, the beauti-
ful baby daughter of Harry Bannis-
ter and Ann Harding, grows to young
womanhood she will be able to see her-
self as others have seen her from the
time she was one month old. Mr. Ban-
nister is an ardent amateur movie
photographer and each month he has
made new pictures of his youthful
daughter, the total footage taken to
date passing the ten thousand mark.

Twenty-six

The INTERNATIONAL PHOTOGRAPHER

April, 1931

Advise Tourists as to Camera Care

Manufacturer Makes Practical Suggestions Re-
garding Best Methods of Protecting
Film and Avoiding Annoyance

MORE and more travelers are tak-
ing- amateur movie cameras
with them when they fare
abroad. They are doing- this because
they find that these little instruments
enable them to capture foreign life in
action — just as it is lived. And when
they return to their homes, they have
only to throw their movies on the
screen to relive the joys of their
travels over and over again.

Because of the increasing vogue of
travel movie making Bell and Howell
make a few practical suggestions as
to taking camera and film to foreign
countries.

With regard to the camera itself,
special precautions are necessary in
taking care of the lens, because mois-
ture is very apt to condense upon it,
leaving a slight deposit which will in-
terfere with the possibility of good re-
sults. This seems an unimportant
point, but a dirty lens can spoil many
dollars worth of film.

One firm manufactures a special
lens cleaning outfit, the price being
nominal. Other than the matter of
keeping the lens clean, no special pre-
cautions as to the care of the camera
are necessary beyond the actual in-
structions issued with every instru-
ment sold, except to avoid getting
sand, dust or water in the mechanism.

Film can be bought in this country
and taken abroad; in fact, it is gen-
erally cheaper to do so because the
price in the various foreign countries

is usually the same as in the United
States plus an import duty.

However, films can be purchased at
almost any of many photographic sup-
ply houses abroad, and development of
their particular make of reversal film
is undertaken without additional cost
at numerous laboratories maintained
in foreign countries by film manufac-
turers.

All film is adequately packed for
normal use, but if a prolonged stay in
a tropical area is anticipated film
should be purchased in special export
packing for which there is a slight ad-
ditional charge.

Few Restrictions

At the present time there is a duty
on amateur motion picture film and
equipment entering certain foreign
countries which, in the case of travel-
ers making a record of their tours, is
not often enforced. The experience
of the great majority is that a small
supply of film for personal use, to-
gether with their cameras, is admitted
practically everywhere without restric-
tion.

In some countries the traveler is
occasionally required to deposit an
amount on the movie camera and film
approximately equal to the import
duty. This amount is refunded if the
material is taken out within a specified
time, usually six months.

The United States Tariff act of 1930,
now a law, provides that motion pic-

Scmford Greenwald reciprocates for Dr. Einstein as the two stage a camera*

duel in Pasadena: Taken on the occasion of the famous scientist's farewell to

Western America. — Photo by Merl La Voy

ture film exposed abroad, whether de-
veloped or not, if of American manu-
facture and if not to be used' for com-
mercial purposes, may be brought into
the United States duty free. This
free entry may be made into the
United States possessions overseas as
well as the mainland, with the excep-
tions of the Philippine Islands, the
Virgin Islands, American Samoa and
the Island of Guam.

Before leaving this country on a
trip abroad it is especially suggested
that you register your camera, lenses,
film, etc., with the customs office at
the port of departure, using Form No.
4455. This will save all argument as
to American origin when you return.
Advise Occasional Processing

After you have replaced your ex-
posed film in the round black metal
case which is furnished with all 16
mm. film, place the case in your paper
carton or metal sealing case but do
not reseal. If you wrap the entire
package in several layers of ordinary
newspaper it will help wonderfully in
preventing deterioration from mois-
ture.

It is recommended that all travelers
have an occasional roll of film pro-
cessed abroad if possible, so as to
afford an opportunity of checking
their results. If you have film pro-
cessed abroad, it is advisable to avoid
mailing it across international bor-
ders, as delays and difficulties invari-
ably occur.

Many travelers prefer to bring most
of their film home with them to have
it processed at a domestic laboratory
with whose work they are familiar.

Note — At the date of writing, all
film processed in Italy must be cen-
sored in Rome before leaving the
country. This is a long procedure
and should be avoided if possible by
having film processed after leaving
Italy.

The laws evidently are not intended
to operate against the amateur; there-
fore, film is generally admitted free
providing it is carried in the owner's
personal baggage.

Kolibri Makes Bow

A new camera, the Kolibri, makes
its bow to the photographers of
America, through Carl Zeiss, Inc., 485
Fifth avenue, New York. Kolibri is
an extremely compact instrument, is
only 4% by 3 by 2 inches in size out-
side, uses standard vest pocket roll
film on which it produces sixteen ex-
posures, each IVi inches by 1% inches.

The ordinary vest pocket print is
1% inches by 2Vz, which the Kolibri
"halves," giving you twice as many
exposures. The lens is a Carl Zeiss
Tessar f3.5 with 2 inch focal length,
with enlargements made up to 10 by
14 in size.

The Compur Shutter is standard
equipment, giving automatic shutter
speeds from 1-300 of a second to one
second along with the regular time
and bulb equipment.

April, 19.il

The INTERNATIONAL PHOTOGRAPHER

Twenty-seven

Use of Business Talking Pictures
to Expand Rapidly, Says Executive

ONE of the greatest sales promo-
tional efforts ever employed by
our company," is the way George
W. Stout, advertising manager of the
Perfect Circle Company, comments on
the talking motion picture sales pro-
gram recently put into operation by
that concern.

"We will venture to predict," says
Stout, "that the use of talking motion
pictures in business will grow by
leaps and bounds within the next two
years and that such pictures will be
a major selling force in the sales set-
up of many American corporations."

The Perfect Circle Company manu-
factures automobile piston rings, and
its talking picture is a vivid presenta-
tion, practically an hour in length, of
the company's personnel, its plant
and its product. Sounds and scenes
of the factory in operation, appro-
priate musical settings, and interest-
ing talks by company executives who
appear on the screen are all effect-
ively introduced. The fact that the
executives can in this way directly
address the company's customers is
stressed by Stout as highly important.

Showings are arranged by the com-
pany's jobbers and wholesale distribu-

American Sound Equipment

For New West Indian House

THERE was opened in San Juan,
on January 1, 1931, a new mo-
tion picture theatre, The Fox,
under the management of Rafael Ra-
mos Cobian, who also is the operatoi
of The Olimpo, according to Trade
Commissioner J. R. McKey, San Juan,
Porto Rico.

In its appointments, lighting, etc., it
is the most attractive amusement
house in the island. It announces that
it will specialize on English language
films.

The sound equipment is of Ameri-
can make.

As John Bull Plans It

Western Electric portable equipment
has been installed aboard H.M.S. Re-
nown. The ship's first cruise after
the installation was to the Mediter-
ranean, and twenty feature films were
taken along.

Fifty for Spain

With its recent installation at the
Joffre Cinema, Ferrol, Western Elec-
tric has completed its fiftieth installa-
tion in Spain. The Joffre Theatre
serves a district of approximately
30,000 inhabitants.

Elliott at RKO

After four years at the Warner
Studio as still photographer, Mack
Elliott has transferred his skill to
RKO.

tors. Audiences consist for the most
part of auto accessory dealers, auto
mechanics, repairmen, garage pro-
prietors and other logical buyers of
the company's product.

"We have a very accurate record on
the use of our talking picture equip-
ment," says Stout. "Our January
figures indicate that 252 shows were
attended by 11,549 persons, or an
average of 46 a meeting. In February
the records indicate that we had 198
showings to 10,269 persons, or an
average of 52 a meeting. The grand
total for the two months is 21,818
persons at 450 showings, or an aver-
age of 48 a showing. The Bell &
Howell Filmophone is playing a big-
part in putting over this program.

"We have just developed a new
invitation form to be used in working
up big audiences. This invitation will
be imprinted with the name of the
person to which it is sent, the time
and place of the meeting, etc.

"Also we have developed a film
showing report which gives us an ac-
curate record of each meeting and
allows us to 'feel the pulse,' so to
speak, of these meetings."

Bell Jumps to Chicago

Walter W. Bell, manager of the
cineart department of the Hollywood
Film Enterprises, left Los Angeles
March 18 for a short business trip to
Chicago.

"Under Paris Roofs"

(Continued from Page 8)
cally all screen work in that country
came to a stop. Pathe and Gaumont
were world leaders, with Italian and
Scandinavian manufacturers close be-
hind them.

To the French as picturemakers
the United States owed much in the
early days — in days when great ac-
tors in the former country did not
from their eminence look down in dis-
dain upon the screen and great
American actors did do just that.
Of course the great American actors
very quickly got over the disdainful
attitude, that is, those who found they
could make good in the new medium.

So in the future as in the past it is
possible the American picturemakers
with profit may sit at the feet of the
French producers.

Fundamentally genuine screen
drama even in the silent days was a
department of literature, as the art
of real story telling always has been
and always will be. With the coming
of sound and dialogue the relation-
ship of the screen to literature has
bee" intensified.

The good story teller who also has a
command of the art of literary ex-
pression is coming into his own. The
producer or executive unable to rec-
ognize this particular individual or
his work inevitably is slated for the
discard.

France is a literary nation. Her
picturemakers through American ver-
sions of French films in the days to
come may contribute much to the en-
tertainment of Americans.

They may do more. Simultaneously
they may remind their American com-
petitors that it takes something more
than a million dollars to make a good
picture.

Sir Williaim Letts, K.B.E., was the guest of honor at a great war dance held

at Johannesburg, and of course recorded the colorful ceremony with his Filmo.

He is seen here talking with the dance leader just after the action had stopped.

—Photo Courtesy Bell c£- Howell

Twenty-eight

The INTERNATIONAL PHOTOGRAPHER

April, 19S1

Bell and Howell to Build in JVest

Two-Story Structure Will Be Situated in Holly-
wood and Will Be Devoted to Research
and Service Work

BEFORE his departure for the
east, J. H. McNabb, president of
Bell & Howell, of Chicago, an-
nounced the acquisition of a site with
a frontage of 240 feet on La Brea
avenue, south of Melrose, upon which
will be erected a Class A building to
house the west coast branch of the
company.

The building itself and adjacent
walled-in parking space for the con-
venience of patrons will extend over
a frontage of 140 feet, the remainder
of the site being reserved for future
expansion.

The building will be two stories
high and be topped by an attractive
tower, lending grace to the structure
and classing it as a new Hollywood
landmark.

The phenomenal technical advances
of the motion picture industry
prompted the company to establish in
Hollywood as a branch of its Chicago
research and engineering division a
fully equipped and competently
manned engineering department.

The Hollywood branch will offer

its services to photographers, labora-
tory experts and producers; gather
and develop new ideas to further the
accomplishments of the industry with
the double advantage of being "on
the ground" where most technical de-
velopments originate and to have at
its disposal the large resources of
the Chicago long established research
and engineering departments.

Accommodations for Public

A well appointed "shop" will take
care of servicing all the company ma-
chinery in use in the Western terri-
tory and will employ only the most
skilled mechanics thoroughly versed
with the various machines, cameras,
printers, splicers, perforators, etc.,
manufactured by the company.

In addition to professional machin-
ery the company produces high grade
amateur motion picture equipment,
and the amateur division in the Hol-
lywood building will be intrusted with
servicing it.

Projection and editing rooms will
be available to the public, and con-
stant displays of both professional

and amateur equipment will acquaint
those interested in the newest addi-
tions of the company's products.

Of special interest to photographers
is the establishment of a fully
equipped lens testing department and
to laboratory experts of a fully
equipped printing room.

No expense will be spared to make
this laboratory, through the help of
both personnel and equipment, one
of the finest in the country.

At the same time the Hollywood
building is being erected further en-
largements are being made at the
Chicago engineering plant. A story
is being added to the two already ex-
isting, which soon will increase the
activities of the Chicago manufactur-
ing plant and the New York and
London branches.

Ground for the Hollywood building
has been broken and its occupancy
is scheduled for early in July.

Joseph E. Dubray, who for some
time has been in charge of the west
coast branch, will remain in that ca-
pacity until the new building is en-
tirely completed and the enlarged or-
ganization functioning smoothly.

Dodge Dunning left March 25 for
London, where he will supervise some
Dunning Process work being done at
one of the large English studios. He
will be gone several months.

The New Bell mid Howell Building in Hollywood

April, 1931

The INTERNATIONAL PHOTOGRAPHER

T 'wenty-nine

Tells Countrymen a Thing or Two

John Paddy Carstairs Describes How English

Studios May Profit by Going to School to

Hollywood Men and Methods

WRITING from Hollywood to
the Bioscope of London, and
where he now is with Basil
Dean, John Paddy Carstairs suggests
to Britain's producers and also its en-
tire film industry a number of tricks
his countrymen first must master be-
fore they will meet Uncle Sam on
the level and unhandicapped in the
fight for box office patronage.

"If we are to put England on the
Screen we must learn from America,"
declares Carstairs; "we must not nec-
essarily imitate her."

"Artistically France, Japan and
Germany are probably ahead of
America," he goes on, "but after all
it is Old Man Box Office who counts,
and we have to admit that America
knows a lot about that!

"England on the screen with a
technique that is an inferior imita-
tion of Hollywood will not do. Brit-
ain must develop young talent; create
young stars, directors and writers.

"Britain must utilize and picturize
the English countryside; the polish of
Picadilly. Give America what she ex-
pects and make it move — serve it as
Americans like it served."

Ruth Chatterton and Genevieve
Tobin head the list of American stars
who use an English broad A, con-
tinues the correspondent. "I think
it is apparent that Americans do not
resent what is called cultured Eng-
lish," he continues. "I found that
most people liked it immensely, and
many were trying to cultivate it.
Others scoff at it, but have a sneaking
regard for it! English subjects and
English locale also seem to hit them
in the right place. I think from the
top hat of Mayfair to the thatched
cottage of the little village hamlets the
English mode interests our American
cousins more than they admit.

"This is probably true of American
picture audiences in most places, and
this is a pointer if British producers
are ready to take note."

Good Reporter

In the foregoing we have set forth
the conclusion of the young man's
very interesting letter. If the Bio-
scope will pardon us we would like to
pass on to our readers some of the
other things jotted down by this Eng-
lish visitor to Hollywood.

It is doubtful if any of his preced-
ing communicative fellow-countrymen
have possessed such a combination of
(1) antecedent knowledge of studio,
theatre and distribution in England;
of (2) actual experience in Hollywood
picturizing, and (3) the well-de-
veloped reporting instinct displayed
by our visitor.

From this point on and omitting
the running quotations Carstairs is
doing the talking:

I hope these short notes on the
Hollywood system will interest not
only producers but the whole British
film industry. For they are aimed at
showing what Britain has to contend
with in fighting America in the mo-
tion picture field.

The two greatest factors to be con-
sidered in relation to American film
progress are, in my opinion : —

(1) Star System and

(2) Theatre Circuits.

After these come such points as pic-
ture sense; box office appreciation;
excellence in publicity; and general
screen talent.

If Britain is to profit by studying
the formula which has brought, and
is still bringing, success to Hollywood,
first and foremost must come the
question of building — that is the right
word — both stars and theatres. Eng-
land must find stars, and find them
soon ! Youth on the screen is vital
if the average British film is to rival
the American product in box office
"pep."

With the exception of one or two
young actresses who, in the recent
British films, have shown themselves
to be endowed with strong screen per-
sonality and ability, Britain has, dur-
ing recent times, created — and added
to its strength — very little solid star-
ring material.

The current idea of importing
stage players with names is a good
one up to a point if the supply of such
talent offers the requisite quota of
youthful players. But does it?

The question of creating stars
starts in Hollywood in the casting de-
partment. But it does not stop there.
It goes through the whole studio,
reaching its climax in a crescendo of
publicity, which warms the public not
only to the goods that so and so stu-
dio has produced, but to the human
starring material utilized in such pro-
duction. This brings us to another
point — the noticeable spirit of co-op-
eration existing in Hollywood studios.

There everyone helps everyone else.
Electricians, props and directors seem
to be working hand in hand. There
is also much less antagonistic attitude
between the production side and the
artists in Hollywood. It is all very
sound, for you cannot expect good
results if the camerman hardly knows
the star.

From experience in England I
found that at times there was a posi-
tive bitterness between staff and ar-

tist ! Hollywood knows that co-opera-
tion brings good pictures.
Colonization

The fact that in Hollywood the stu-
dios are all within a few miles of each
other often proves very useful. The
interchange of "sets" and even tal-
ent is a frequency.

The fact that a producer on the
Warner lot knows that he can "bor-
row" that ship set on the Fox lot and
the Fox director knows he can use
Warner's ranch help tremendously to
keep production on prosperous lines.
Isolation in the movie business is less
evident in U. S. A. than in Britain;
the communal sense is more keenly de-
veloped.

Internal studio organization, too, is
remarkable in Hollywood. Britain is
getting on to the right road, but noth-
ing in England can equal, for in-
stance, the overhead track at the Par-
amount West Coast Studio. It goes
all over the lot, into all the stages
and around the whole place, and
makes it possible to build all "sets"
in a large silent stage, and merely
wheel them at will into any sound
stage which may be available — all
ready to assemble!

Most Hollywood studios, too, have
many cutting rooms and projection
rooms as well as final recording
rooms.

A film editor can, therefore, go right
ahead with his director and be up to
date with his cutting; he has his own
cutting room and projection theatre.
Big projection theatres for special
studio previews to executives are
found on lots like Paramount, United
Artists and First National.
Camera Work

Then camera work: lighting . . .
that vitally important thing in mod-
ern picture making!

In Hollywood the cameraman is an
important man, and there no "rush
the cameraman tactics" are employed.
Lee Garmes, ace cameraman, who was
with First National for some years
(you probably remember that beauti-
ful photography of "The Private Life
of Helen of Troy"), was telling me
that he has choice of colors for his
sets, choice of colors and material
for the artists' dresses and a final
say in everything photographic.

It is the cameraman's job to see
that everything looks good on the
screen; if it doesn't he takes the kick.

But in Hollywood he knows that he
deserves it, for if he does not fancy
anything photographically, he has
only to shout to get it removed.
No More Punk Sets

Excellent laboratory work is an-
other reason for such brilliant cam-
era work in the States .... Has Brit-
ain realized how important is this side
of studio activity.

If a set is supposed to represent a
bath-room in Hollywood it is a bath-

Thirty

The INTERNATIONAL PHOTOGRAPHER

April, 19.31

room .... there is no stage backing
or imitation about the average set
today in Hollywood ... a door is a
door, and it looks like one!

The vogue for sets a la cinema is
no longer. These days a good cam-
eraman will light anything within
reason; the idea of leaving spaces for
lights, etc., has passed; the art di-
rector today knows that with clever
sets, a little knowledge or even co-
operation with the cameraman, a set
can almost z'epresent a four-walled
room.

At Paramount and Radio recently
they had two complete flats compris-
ing every detail common to the mod-
ern flat and in exact order. All the
rooms adjoined in perfect order.

In "No Limit," Clara Bow's next,
one set was a replica of any modern
flat and is built just as solidly as a
great many.

Casting is also given far more
serious and expert attention in Holly-
wood than in Britain. Even the small-
est part is "in character" .... amaz-
ing characterization in their picture
helps to give the Americans that
slickness and polish which is so often
the saving grace of otherwise com-
monplace pictures.

And again, as John Loder once re-
marked to me, in England all the film
people "act" their parts; "act" them
probably magnificently, while in the
States, they seem to be in the part,
not acting it!

The Americans having cast their
artists carefully, know how to "put

them over" with publicity. In this,
good photography, superb dressing,
attractive hair coiffure, and a thous-
and and one details of the kind, play
their part.

An example of clever studio pub-
licity was provided by the handling
of Marlene Dietrich.

She was sold as a box office draw
before the release of her picture in a
manner reflecting in credit and cash
upon those responsible.

Directors and Writers

In Hollywood, where the cream of
the world's literary talent has been
whipped up of late, the feeling exists
that British studios regard the scen-
arist as "less than the dust." It is
certain that almost anyone is allowed
to write British scenarios and, in one
or two glaring cases, story supervis-
ion is in the hands of people with
little experience and still less incli-
nation to acquire any.

The fact that John Van Druten,
Michael Arlen, Benn Levy, Frederick
Lonsdale, to name only a few, are in
Hollywood writing screen originals, is
proof enough that the stage play must
now be very much adapted to the me-
dium of the screen ... or not filmed
at all!

A few more original stories with
some motion and less inane chatter
would help a lot to help forward the
British product against that of U.
S. A.

Tempo we don't appear to under-
stand; why talk about it?

Wherein Comment Is Made Upon the
Very Frank Remarks of Cars fairs

AMERICANS as well as English-
men may read with profit the
letter of John Paddy Carstairs
in the Bioscope of London of recent
date. They will discover that John
Bull as always in his long history
has alert scouts abroad, men with a
capacity for saying things that may
prove to be wholesome even though
unpalatable in the taking.

England can take it as well as dish
it out, and by reason of its ability
to do this it is to be respected and
perhaps also feared. It is not within
reason to expect that indefinitely Eng-
land in a motion picture production
way is to remain submerged. Aside
from the handicap of a northern cli-
mate there is no tangible reason why
Americans living on one side of the
Western Ocean should make any bet-
ter pictures than Englishmen living
on the other. So Americans steadilv
making hay while the sun shines will
not neglect the potentialities of a
commercial set-to in which England
is one of the contenders.

Carstairs says England must de-
velop young talent — stars, directors
and writers. England better go slow
on accepting that advice. In the old
days England had a habit of sending

over pictures with the romantic fem-
inine roles filled by women too ma-
ture for the particular part. She is
doing better now.

In America the hits in the feminine
division are rarely made by those
who cannot hang up at least twenty-
five birthdays. Exceptions there are,
of course, but not sufficient in number
to get excited about, even including
those accelerated what through cour-
tesy we will call careers and created
from various reasons.

No Royal Road

Some writers and some directors
solemnly may assure you if they re-
veal what is on their chests that their
gift is God-given and that they pos-
sessed it in full flower even in their
youth. But the wise old birds who
have been through the mill know that
each is a trade, that of the writer
especially; that not all of them can
be a Dickens.

Few writers make much noise be-
fore they are thirty-five and the ma-
jority of the successful ones are well
beyond that.

Dietrich's Pre-Publicity

Carstairs speaks of Marlene Die-
trich having been sold as a box office

draw before the release of her pic-
ture and describes it as celevr studio
publicity. It was simple enough. In
advance of the release and in con-
formity with its practice it showed
"Morocco" to the west coast corre-
spondents of trade papers, of fan
magazines, of syndicates, and more
important than that to the represen-
tatives of the news associations, to
men and women representing hun-
dreds, even thousands, of newspapers.

All of these individuals or a ma-
jority of them in their enthusiasm at
the end of the showing "tipped their
mitt" to the publicity office. That
department was confirmed in its own
opinion that "Morocco" contained
something out of the ordinary, that
an unusual personality had crossed
the screen horizon. The executives
were confirmed in their hopes.

The advertising department got
busy on a 24-sheet that carried the
name of the newcomer and the public
curiosity was aroused. It happened
the picture made good on the adver-
tised thunder. Dietrich was a sure-
enough star, as she never could have
been had the production proved a flop
in the view of the public.

Incidentally Elstree's "Loose Ends",
shown in Hollywood in March, will
go far to demonstrate the justice
of some of Carstairs' restrictions on
the English studios. There was much
in the picture that merited approval,
but as it was attempted to point out
in another column in a review writ-
ten before the Carstair's letter was
read there were a number of major
opportunities overlooked to the det-
riment of the production.
Cultured English

Regarding the broad A and pre-
sumably other evidences of what some
will call affectation to which Car-
stairs refers it is possible and rather
likely he is being "kidded" when he
finds that "most people liked it im-
mensely and many were trying to cul-
tivate it."

The correspondent is right when he
says he thinks "it is apparent that
Americans do not resent what is
called cultured English." Naturally
not, for that particular article is not
a monopoly of one side of the ocean,
which ordinary construction of Car-
stairs' remarks implies it is.

There is little difference in the dia-
logue of an English actor of rank and
an American actor of rank when the
two are thrown into the same com-
pany. "Cultured English" then is a
common possession. But when an
American actor goes to the extreme
of out-Englishing the Englishman
then an American audience is likely
to squirm — and certainly will. Who-
ever puts on the linguistic dog will be
laughed at.

But by all means bring on that
English thatched cottage — we want to
see it and we want to see the hedges
and the lanes.

As to directors that is something
else again. The fact always remains
that given initial capacity for the
work, the product of the matured
craftsman must be infinitely superior
(Continued on Page 33)

April, 1931

The INTERNATIONAL PHOTOGRAPHER

Thirty-one

Simplex Builds Triple Lens Turret

Assembled to Projector One May Be Used for

Silent or Disk, Second for Sound on

Film and Third for Wide Film

THE International Projector Cor-
poration announces the general
introduction of a Triple Lens
Turret. This may be easily and
quickly assembled to any Simplex-
Projector mechanism. It will at once
be apparent to the projectionist that
by the use of this turret all projec-
tion problems affecting lens changes
are entirely eliminated, says the com-
pany. Each of the three lens mounts
may be separately adjusted both ver-
tically and laterally and each may
be separately focused; also, these lens
mounts accommodate all makes and
focal lengths of lenses either half or
'quarter size.

It is only necessary to insert, ad-
just and focus three lenses of the de-
sired focal lengths after which any
one of the three may be instantly
iswung on to the optical axis. One
lens of the proper focal length may
be used for silent or sound-on-disk
prints, the second for sound-on-film,
and the third for Magnascope or oth-
,er types of effects.

Where sound-on-disk is not in use
one of the lens mounts may be
equipped for Magnascope and another
for some other particular effect, while
'the third remains for sound-on-film
projection. It is obvious that any
number of combinations of lenses may
be used for different purposes, and it
becomes unnecessary to slip lenses in
and out of the mounts during an en-
tire performance.

The turret proper is mounted in a
substantial frame on four 90 degree
V grooved rollers with provision for
taking up all end and radial play in
rollers, thereby providing a free-turn-
ing turret which is rigidly supported
and free from shake and vibration.
Positive audible stops have been pro-
vided for each projection position by
.means of index pins and a tapered
lock so that normally but one lens at
a time may be swung into position.

Due to the design of this unit none
of the fire prevention devices has been
removed from the mechanism and the
fireproof properties of the projector
have therefore in no way been im-
paired.

With the turret a new film protector
and gate latch assembly are furnished,
the use of which eliminates the neces-
'sity for the projectionist placing his
hand within the mechanism when clos-
ing the gate while threading. The
new lever release comes through the
film protector and is very handily lo-
:ated. A mirror arrangement is also
provided on the rear of each lens
:hamber by means of which the aper-
ture may be observed for checking up

on framing after film is threaded in
place.

Great care has been exercised in the
design of this assembly that no diffi-
culty may be experienced in attaching
it to the mechanism, and it is not nec-
essary to cut away any part of the
mechanism whatsoever. The company
feels that this turret assembly will
meet with the approval of projection-
ists everywhere, as it gives them a
piece of equipment which can be re-
lied upon and which eliminates the
possibility of a shut-down where oc-
casionally it may be forgotten to in-
sert the correct lens between reels.
If at any time the wrong lens in the
turret should be in front of the aper-
ture the correct one may be swung
into operation in a fraction of a sec-
ond with hardly any perceptible effect
upon the screen.

All half size lenses of standard di-
mensions may be readily inserted and
clamped by the entire inside diameter
of the mount.

Madras city has 11 permanent cine-
mas, of which one is a talkie house.

The authorities consider the large
increase in the number of permanent
and traveling cinemas indicates the
Indian public is taking greater inter-
est in cinemas. There has in conse-
quence been considerable activity in
production, no fewer than six com-
panies having been created in each
presidency.

More money is being invested in the
industry, which is likely to be a source
of both profit and pleasure "to the
rural and urban population."

Australia Creates First Talker

"Talkie Mad," the first all talking
picture produced in Australia, has re-
cently been completed by Norman
Dawn. The picture, which is a story
of Australians making the first talkie,
was started in June, 1930, but was
held up by a long spell of poor
weather. In addition defective parts
had to be recorded a second time be-
fore the picture was completed. Dis-
tribution will probably be confined to
Australia at first, but the outlet has
not been announced.

Increasing Investments in

Motion Pictures in Madras

'HE Madras Government has is-
sued an interesting report on
the administration of the Brit-
ish Cinematograph act in the Madras
Presidency during the official year
1929-30. From this it is learned there
are 83 permanent and 66 traveling
cinemas in the presidency and that

Lectures on Projection

The French Technical School of
Photography and Cinematography has
been asked by the Chambre Syndicale
and the Independent Exhibitors' or-
ganization to arrange a series of
twelve lectures on projection of talk-
ers.

Every phase of film projection is
included in the syllabus, and a suita-
ble time has been arranged in the
late afternoon for the delivery of lec-
tures.

Scene from a society picture of eighteen years ago with the participants

garbed in the fashion of the day. It was mode by Messier Film of Berlin and

photographed in that city by Victor Scheurich.

Thirty-two

The INTERNATIONAL PHOTOGRAPHER

April, 1931

Curtiss-Wright to Give Course in

Air Photography in All Branches

TO BE prepared to supply the
increasing demand for aerial
photographers the Curtiss-
Wright Flying Service has added a
complete course in aerial photography
to those of flying and aviation me-
chanics already being taught by the
company in Los Angeles.

The instruction will start April 6
under the direction of Major H. A.
Erickson. It will include several
hours of flying time. Also a number
of missions of varying nature will be
assigned to the students.

The course will include instructions
designed to qualify students in theory,
air work, laboratory work, printing,
developing and enlarging of air
obliques, mapping, mosaics, aerial
surveys, etc. Use of the motion pic-
ture camera in aerial photography
also will be studied.

The science of aerial photography
is fast coming into its own, and there
are many important projects calling
for its use now being carried out, with
others in preparation. One of these is
the government's aim to map the en-
tire United States from the air. The
original plans contemplated a sched-
ule requiring eighty-eight years for
its completion, but President Hoover

has given instructions the time be re-
duced to eighteen years.

Some of the Curtiss-Wright bases
already have done a great deal of
work on similar projects, including
the Mississippi flood survey. During
the year just closed seven of these
bases have completed $4,000,000 of
aerial photographic work. Of course,
practically all of this was for com-
mercial concerns rather than for the
government.

L. M. Carver, who will have charge
of supplying information to prospec-
tive students, said at his office at the
Grand Central Air Terminal in Glen-
dale that students in aerial photog-
raphy who already were photogra-
phers would have a decided advan-
tage over other students. This would
apply even with greater force to pho-
tographers who also were pilots.

Major Erickson, who will have
charge of instruction in aerial photog-
raphy, is one of the pioneers in that
field of work, having been actively en-
gaged in it since 1911. His first air
photographs were taken from an old
Curtiss pusher. During the war he
was in charge of instruction in aerial
photography at McCook field, Davton,
Ohio.

Krows Writes "The Talkies"

for Lay and Professional

TO the office of the International
Photographer there has come
"The Talkies," a book by Ar-
thur Edwin Krows, Henry Holt and
Company, New York.

Written primarily for the layman
who is interested in the technique of
the modern screen, the book neverthe-
less explains the various steps and
processes so thoroughly that the stu-
dio technician, director and actor can-
not fail to profit by a careful read-
ing.

Mr. Krows has chapters on various
methods of recording, theatre opera-
tion, cinematography, analysis of
voice from both the actor's and the
recorder's standpoint, satisfactory
script writing and many other vital
steps in the construction of the mod-
ern sound motion picture.

Explained clearly and concisely
with no super-technical phrases, Mr.
Krows' book places within reach of
everyone an invaluable review of the
entire motion picture profession.
From the inception of each phase of
the industry he has compiled a thor-
ough treatise on essential and inter-
esting details of its growth through
the years down to the very latest
methods of talker production.

The book should as thoroughly sat-
isfy the professional as it undoubt-
edly will the general public. In fact
the professional picture maker almost
may regard it as a handbook of gen-
eral information. I. B. H.

"The only institution of its kind in the world

HIGHLAND AVENUE AT HOLLYWOOD

BLVD.

HOLLYWOOD, CALIF.

CHICAGO OFFICE — 444 WEST GRAND

AVENUE

Foreign Branches

London, England: 10 D'Arblay St.

Sydney, Australia: No. 4-C Her Majesty's
Arcade.

Manila, Philippine Islands: No. 227 David St.

Mexico City. Mexico: Paseo de la Reforma

36 y...

Buenos Aires, Argentina: 500 Sarmiento.

Lima, Peru: Edificia Mineria.

Honolulu, T. H.: 720 South St.

Johannesburg, South Afiica: Corner Jou-
bert and Kerk St.

Habana, Cuba
H-130, Vedado

The members of Photographers' Local 659 individually unqualifiedly indorse

MAX FACTOR'S MAKE-UP

MAX FACTORS MAKE-UP STUDIO

HOLLYWOOD, CALIFORNIA

April, 19S1

The INTERNATIONAL PHOTOGRAPHER

Thirty-three

Wherein Comment is Made

(Continued from Page SO)
to what it was in his comparative
youth.

Let the Britishers go slow on the
young talent stuff. There are direc-
tors, good ones, around Hollywood
who have quit having birthdays, and
as for writers a dragnet set for forty
will catch a lot of them.

Carstairs' reference to the snirit
of co-operation in Hollywood studios
should interest the American execu-
tives and stockholders. Probably many
of them have no knowledge that such
is a fact.

The Englishman's declaration that
you cannot expect good results if the
cameraman hardly knows the star
will cause a smile among the wise
ones. The star, too, will come for-
ward with the suggestion that with-
out the "kind ministrations" of the
cameraman, as one Boston writer ex-
pressed it, indeed she would be hope-
lessly undone.

Minus that touch here and that
touch there with lights and angles
she might on the screen no longer
be the howling beauty she is rated
by the public but merely the every-
day looker she is known to be off of it.
Your honest to goodness feminine
screen star may quarrel with her
'husband or her employer or her di-
' rector, but not with the man she
trusts to bring to her fortunes all the
knowledge and skill he has accumu-
lated through the years.

The Actor Who "Acts"

The allusion to Paramount's over-
head track will warm the cockles of
Studio Manager Frank Brandow's
: heart. That track is his baby. It
'has been in operation about two years
and is one of the outstanding exam-
ples of the "machine age" in studio
equipment.

The criticism of John Loder that
in England the film players "act"
their parts might have been laid at
| the door of American screen players
in the early days, say twenty years
ago. Arthur Johnson of Lubin was
one of the early exemplars of the
naturalistic actor for the screen. Ar-
thur Mackley of Essanay, he who cre-
ated the western sheriff for the
screen, was another whose work stood
out above that of the multitude of
early performers before the camera.
It was a belief in the beginning of
1 the screen that by reason of being
1 deprived of the voice it was necessary
to accentuate the action in order to
overcome the handicap. Johnson and
Mackley, both now dead, were dis-
ciples of the opposition.

Colombia Reports Gains in

Equipment and Film Quality

INSTALLATION of sound equip-
ment in many theatres and better
distribution of American motion
pictures stimulated the motion pic-
ture business in Colombia in 1930, ac-
cording to Commercial Attache Wal-
ter J. Donnelly, Bogota, Colombia.
The improved quality of motion pic-
tures attracted larger audiences and

brought about the erection of several
new theatres.

That Colombians are real motion
picture enthusiasts is evidenced by
the increasing patronage of practi-
cally all of the theatres, even at high
prices that prevailed last year.

from Hollywood" and the other will
be "Color Magazine of the Screen."
Welsh will direct.

Color TSovelties by Welshay

Robert E. Welsh, former general
manager of Universal studio, and
Frank Shea, former vice president of
Pathe International and later west-
ern division manager for RKO, have
organized the Welshay corporation
for the production of two brands of
single-reel Technicolor novelties, re-
leasing twelve of each annually.

The first series is "Beauty Secrets

Paramount Buying Equipment

Resumption of activity in the mo-
tion picture studios is indicated by
the purchase by Paramount of 175
additional Laco Lites, bringing that
company's supply of that brand to
more than 500 units.

According to Chief Electrician Earl
Miller these lights have been adopted
as standard equipment by Paramount,
due to their ability to meet that or-
ganization's requirements.

Paramount is the second company
within recent weeks to augment its
stock of Laco lamps, Radio having in-
stalled more than 100 similar units.

Practical

Portable

Audio-Camex
Sound-on-Film Recording

System

Sole Distributors for This System

Thirty-four

The INTERNATIONAL PHOTOGRAPHER

April, I9.il

Film Daily's Year Book Contains
Increasing Array of Trade Facts

The thirteenth annual Film Daily
Year Book tells the story of a year's
accomplishment and nrogress in the
motion picture industry.

The start for 1931 is unusually
promising, getting off on a saner and
safer basis of operation than at any
time during- the past ten years, ac-
cording to the predictions of the in-
dustry's leaders.

The daily happenings of the year
are recorded in chronological order.
A total of 11,950 titles represent the
pictures released between Jaunary,
1915, and December, 1930. Also the
ten best picture selections of the past
eight years will provide interesting-
entertainment as an indication of the
trend in public taste in types of pic-
tures, stars and directors.

Laura LaPlanle and Harry Meyers in "Meet
the Wife" -- Produced by Christie . at Met-
ropolitan Sound Studios . . Directed by A.
Leslie Pearce. Released through Columbia.

Mole-Richardson

Products

arc lighting the set

and

taking the sound.

The finest lighting and sound
equipment it is possible to buy
is working on this set - - - much
to the satisfaction of cinemato-
graphers, sound engineers, and
electricians. These gentlemen
work better with Mole-Richard-
son products for they know that
their efforts will be reflected in
the technical perfection of the
production.

MOLE- RICHARDSON, INC.

941 NORTH SYCAMORE AVENUE
HOLLYWOOD, CALIFORNIA

If It Isn't An

It Isn't An Inkie.

Several individual and distinctive
accomplishments are credited to 1930.
The transition from silent to sound
pictures was successfully negotiated
with the talker now grown up and
sophisticated at a cost of more than
$500,000,000 in new capital. It's a lot
of money, even if it didn't really cost
all that.

There were six releases of color
wide film, and the first public broad-
cast of television occurred on May 22,
1930, at the RKO-Proctor Theater,
Schenectady, N. Y.

STATEMENT OF THE OWNERSHIP, MAN-
AGEMENT, CIRCULATION, ETC., RE-
QUIRED BY THE ACT OP CON-
GRESS OF AUGUST 24, 1912,

Of the International Photographer, published
monthly at Los Angeles, California, for April
1, 1931.

State of California, County of Los Angeles-ss.

Before me, a Notary Public in and for the
State and county aforesaid, personally ap-
peared George Blaisdell, who, having been duly
sworn according to law, deposes and says that
he is the Editor of the International Photog-
rapher, and that the following is, to the best
of his knowledge and belief, a true statement
of the ownership, management (and if a daily
paper, the circulation I, etc., of the aforesaid
publication for the date shown in the above
caption, required by the Act of August 24,
1912, embodied in section 411, Postal Laws
and Regulations, printed on the reverse of
this form, to wit :

1. That the names and addresses of the
publisher, editor, managing editor, and the
business managers are : Publisher, Interna-
tional Photographers, Los Angeles, California;
Editor, George Blaisdell, Los Angeles, Califor-
nia ; Managing Editor, none ; Business Man-
ager, George Blaisdell, Los Angeles, Cali-
fornia.

2. That the owner is: (If owned by a cor-
poration, its name and address must be stated
and also immediately thereunder the names
and addresses of stockholders owning or hold-
ing one per cent or more of total amount of
stock. If not owned by a corporation, the
names and addresses of the individual owners
must be given. If owned by a firm, com-
pany, or other unincorporated concern, its
name and address, as well as those of each
individual member, must be given.) Interna-
tional Photographers, Local 659, International
Alliance of Theatrical Stage Employees and
Moving Picture Operators of the United States
and Canada, 1605 North Cahuenga Ave., Hol-
lywood, California; President, Alvin Wyckoff :
First Vice-President, Roy H. Klaffki ; Second
Vice-President, Ira Morgan ; Third Vice-Presi-
dent, Archie Stout ; Recording Secretary, Ar-
thus Reeves ; Financial Secretary, Ira B. Hoke;
Treasurer, Charles P. Boyle ; Sergeant-at-
Arms, Len Powers. The address of all the
foregoing is at 1605 North Cahuenga Avenue,
Hollywood, California.

3. That the known bondholders, mortgagees,
and other security holders owning or holding
1 per cent or more of total amount of bonds,
mortgages, or other securities are : None.

4. That the two paragraphs next above,
giving the names of the owners, stockholders,
and security holders, if any, contain not only
the list of stockholders and security holders as
they appear upon the books of the company
but also, in cases where the stockholder or
security holder appears upon the books of the
company as trustee or in any other fiduciary
relation, the name of the person or corporation
for whom such trustee is acting, is given ; also
that the said two paragraphs contain state-
ments embracing affiant's full knowledge and
belief as to the circumstances and conditions
under which stockholders and security holders
who do not appear upon the books of the com-
pany as trustees, hold stock and securities in
a capacity other than that of a bona fide
owner ; and this affiant has no reason to be-
lieve that any other person, association, or
corporation has any interest direct or indirect
in the said stock, bonds, or other securities
than as so stated by him.

GEORGE BLAISDELL, Editor.
Sworn to and subscribed before me this 24th
day of March. 1931.

(Seal) HOWARD E. HURD.

(My commission expires Dee. 14, 1932.)

April, 19.il

The INTERNATIONAL PHOTOGRAPHER

Thirty-five

Herrmann 's Calif or
No Hit Up

WHEN John L. Herrmann, Para-
mount Sound News man, left
California around New Year's
en route to Minneapolis for the pur-
pose of recording winter sports and
dog derbies it seems he took his
weather with him. It was not the kind
he craved at all. With the accom-
panying temperature there was noth-
ing in common with the camera of
Pvrd and south pole antecedents
Herrmann's fine sense of prevision
had impelled him to bring along in
order to be the better fortified against
sub-zero drops into the roaring forties.

His prepardness was quite unnec-
essary. In Minneapolis the mild win-
ter fractured records right and left,
the reading of 59.5 above zero being-
January's highest for forty years.
The months lowest was 5 below.

While the temperature was around
40 above one of the local theatres
planned a stunt with an iceboat and
six girls in bathing suits. The half
dozen femmes were to be recruited
from the chorus of the theatre. On
the day the stunt was to be put over
the temperature took a flop to 28, or
four degrees below the freezing point.

Three of the girls decided bathing-
suits and iceboats did not look so good
to them. An SOS to a sorority house
at the Universitv of Minnesota
brought a response from a trio of
volunteers, and the stunt was put on.

It was found the girls could work
only from two to four minutes at a
time, due to the cold, at the end of
which period they would be bundled
in blankets and placed in heated cars.
When thawed out they would return
to the battle.

On the left will be seen a flash of
the "works," with the six girls pretty
much unprotected from the weather,
with blankets and sound boxes cover-
ing the ice; three male persons pretty
much protected from anything in the
way of weather, reading from left to
right, George L. Graham, sound man,
of Local 666; the skipper of the Lake
Calhoun iceboat, and on the right

nia Weather Makes
Minneapolis Way

Photographer Herrmann, 659, with
his sound wagon and camera.

On the right of the layout will be
seen the picture as it was recorded
for the screen.

Traveling Sound on Film

Is Acclaimed in Bolivia

EARLY in December, 1930, a trav-
eling talking picture company
opened in La Paz for a short
engagement and then proceeded to
the other cities of Bolivia. For the
first time there were exhibited in
Bolivia talking films with the sound
recording a part of the film rather
than on separate disks. The pictures
were enthusiastically received.

On November 25, 1930, an an-
nouncement appeared in La Paz

newspapers to the effect that the
Teatro Princesa of La Paz was mak-
ing preparations for the installation
of American sound picture equipment
early in 1931.

The Princesa is managed by Sr.
Andino, who also manages a string of
theatres in Oruro, Cochabamba and
smaller cities of the republic, and if
the Princesa installation proves pop-
ular it is likely sound picture equip-
ment will be installed in the other
theaters of the chain.

The announcement was made in
August, 1930, that a large American
film corporation intended to construct
a theater for the exhibition of its
sound pictures in Bolivia. The proj-
ect has evidently been abandoned.

Japan Censors Home Product

According to statistics issued by
the Japanese Department of Home
Affairs, the authorities during the
first ten months of 1930 censored
13,548 reels of film, the total length
being 14,527,258 meters, according to
Trade Commissioner Steintorf.

DUNNING

rocess torn

pany

A FEW CURRENT AND FUTURE RELEASES CONTAINING
DUNNING SHOTS

"Connecticut Yankee" ..... Fox

"Body and Soul" ....... Fox

"White Shoulders" RKO

"SUBWAY EXPRESS" Columbia

(This picture entirely photographed by Dunning Process.)
Our projection room for demonstration of Process is at your disposal.

"You Shoot Today — Screen Tomorrow"
932 No. La Brea Ave GL 3959 Hollywood, Calif.

Thirty-six

The INTERNATIONAL PHOTOGRAPHER

April, 1931

Now We'll Have a Manless Picture

WE ARE going- to have a mo-
tion picture that will come
nearer being an Adamless
Eden than anything yet seen on the
screen. There is not even a lone male
in the cast. It's title will be "Mad
Parade," and it is being produced by
Liberty Productions under the super-
vision of H. M. Gumbin at the Metro-
politan Studio.

The tale is from a stage play writ-
ten by Gertrude Orr and Dorris Mai-

loy, both of whom in active service
faced shell fire in the Argonne.

In the feminine part of the layout,
reading from right to left, are Eve-
lyn Brent, Lilyan Tashman, Irene
Rich, Louise Fazenda, Fritzi Ridge-
way, Marceline Day, June Clyde,
Elizabeth Keating and Helen Keat-
ing.

In the masculine circle, in the up-
per row and reading from left to
right, are Harold Graham, Dean Dailj-

and James Higgins, assistant cam-
eramen; middle row, Glenn R. Kersh-
ner, Ernie Miller and Charles Van
Enger (Chief), cameramen; lower
row, Gene Anderson, assistant direc-
tor; William Beaudine, director, and
Oliver Sigurdson, stillman.

Yes, had it been a dance there'd
been no wallflowers. Count 'em!

Threaten German Monopoly

with New Sound on Film

By Fritz Mann in London Bioscope

OSCAR MESSTER'S forecast that
the year 1931 was to bring sen-
sational developments in the
"talker" field seems already to be prov-
ing true.

I hear from well-informed technical
authorities that very shortly a new
"talker" camera will be placed on the
market by a leading German technical
concern which will work on an entirely
new system.

The system is based on the sound-
on-film process. Actual technical de-
tails are being closely guarded be-
cause several questions concerning the
exploitation of the invention are still
to be settled. The patent itself is said
to be unassailable.

The appearance of a new recording
equipment would, of course, revolu-
tionize the production of talkers, and
the present monopoly of Klangfilm-
Tobis and Western Electric would al-
most certainly be affected. The ma-
chine is to be exploited at home and
in foreign countries. Patents are
already registered in the different
countries.

Photophone in Europe

Henry Edwards and W. Norman,
identified with motion picture activi-
ties in England for many years, are
installing RCA Photophone recording
and reproducing equipment in their
recently acquired studio at Tedding-
ton. They will produce feature pic-
tures and short sound subjects with-
in a few weeks.

There are now eight Photophone re-
cording licensees in England and a
total of thirteen licensees in Europe,
including studios in France and Italy.

DU CW*Q^E FILM SYSTEM

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Hollywood, Calif?

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SOLD BY SMITH & ALLER, HOLLYWOOD, CALIF.
DU PONT-PATHE FILM MFG. CO., NEW YORK, N. Y.

April, 1931

The INTERNATIONAL PHOTOGRAPHER

Thirty-seven

Funeral of Fogel, Widely Honored
Theatrical Man, Largely Attended

TAKE FOGEL, formerly president
I of Local 33, I.A.T.S.E., died at his
J home in Los Angeles, February
26. Mr. Fogel was born in San Fran-
cisco sixty-one years ago. In his youth
he formed friendships with David
Warfield and Jack London and with
Warfield as boys sold matches on the
(streets. In his effects he left many
souvenirs of the regard of Jack Lon-
don received from all over the world.
As a youth, Fogel joined a circus and
iwith it remained for twenty years.

He was stage manager of the Be-
lasco Theater in San Francisco and
then of the old Burbank of Los An-
geles. The latter house was at that
stage of its career in which there ap-
peared consecutively as feature play-
ers Lewis Stone, Forrest Stanley and
Richard Dix.

In more recent years Mr. Fogel had
devoted his time to Masonic activities.
He was a member and past master of
Silver Trowel Lodge 415. Practically
all the prominent screen players in
Hollywood as well as many executives
:and others who sought Masonic in-
jstruction were coached by him in fun-
damentals. Among this number were
Douglas Fairbanks, Harold Lloyd,
Monte Blue, Kenneth Harlan, Hoot
Gibson, Jean Hersholt, Ray Hatton,
Wallace Beery, Frank Borzage, Lewis
Stone, Douglas MacLean, Harold B.
Franklin and J. J. Franklin.

The funeral was one of the most
i largely attended by amusement men in
many years. At the services, which
were presided over by Rabbi Edgar
Magnin, a nephew of Mr. Fogel,
Monte Blue spoke eloquently and feel-
ingly of the man who had passed.
There was a beautiful floral wreath
from Fairbanks ordered by cable from
Asia.

Mr. Fogel left three sons, Irving J.,

who conducts an electrical transcrip-
tion business in Hollywood; Mike, who
is in the South Seas, and William,
who lives in Chicago.

To Exhibit New Apparatus

At Engineers'1 Convention

FOR the spring meeting in Holly-
wood of the Society of Motion Pic-
ture Engineers arrangements are
being made for an exhibition of new-
ly developed motion picture appara-
tus, in order better to acquaint the
motion picture engineer with the
newly devised tools which may be of
value to him.

This will not be of the same nature
as the usual trade exhibit. There
will be no booths, although each ex-
hibit will be allotted definite space by
the Exhibits Committee, and all ex-
hibits will be arranged in one large
room. The following regulations will
apply:

1. The apparatus to be exhibited
must be new or have been developed
or improved within the past twelve
months.

2. No pamphlets or advertising lit-
erature will be permitted.

3. Each exhibitor will be permitted
to display one small card giving the
name of the manufacturing concert!
and each piece of equipment shall be
labeled with a plain label free from
the name of the manufacturer.

4. A technical expert capable of ex-
plaining the technical features of the
apparatus exhibited must be present
during the period of the exhibition.

5. The hours of the exhibition will
be determined by the apparatus ex-
hibits committee and the exhibits will
be closed during the papers sessions.

6. All exhibition space will be fur-
nished gratis.

Bobby Jones swings into his first
smack as a screen star. Director
George. Marshall, who knows a thing
or two himself about this golf stuff,
is the seated spectator. A Mole-Rich-
ardson boom supports the mike that
receives the sounds. It is not every
golfer who could take a chance on
having recorded on film, not only his
shot but his language also

7. The apparatus to be exhibited
will be censored by the apparatus ex-
hibits committee to insure that this
is essentially new as described under
Item 1.

Please make requests for space di-
rect to the editor-manager at the gen-
eral offices, 33 West Forty-second
street, New York, stating the num-
ber and nature of the items to be ex-
hibited.

W illiamson Is Busy

According to a press item William-
son Films (N. Z.) Limited has com-
pleted negotiations for the control of
three more theatres in the South Is-
land, according to Trade Commis-
sioner Julian B. Foster, Wellington,
New Zealand. The lease of a fourth
is under consideration.

ROY DAVIDGE FILM
LABORATORIES

An Exclusive "Daily" Laboratory

Quality and Service

6701-6715 SANTA MONICA BOULEVARD

GRanite 3108

Thirty-eight

The INTERNATIONAL PHOTOGRAPHER

April, 19.il

Looking In on Just a Few Nezv Ones

(Continued from Page 2b)

the selection of Reri lies in the fact
she is in love with Matahi — she does
not want to be the chosen one.

Matahi kidnaps Reri and takes her
to a distant island. The chiefs with
religious perseverance seek the girl,
over whose head grim tragedy seems
always to be hanging. That in the
end the blow falls is simply the reali-
zation of the anticipated — but the
tragedy is of wider scope than fore-
seen. The Old Warrior is a merciless,
relentless and unmovable ruler — he
knows only his duty as he sees it.

The general atmosphere of "Tabu"
is one of unusual novelty, of genuine
entertainment. It is not a sound pic-
ture in the true sense, but as a sub-
stitute there is a musical setting by
Hugo Riesenfeld which will go far to
make up for the absence of the sound
truck.

The subject was directed by Mur-
nau, and the touch of the skillful hand
is evident all through the picture —
something rare in South Sea Island
screen stories.

UNFAITHFUL

Charles Lang, Cameraman

AN ENTERTAINING picture is
Paramount's "Unfaithful," di-
rected by John Cromwell, h:
spite of an absence of coherence in its
earlier stages; and further and em-
phatically in spite of Ruth Chatter-
ton in the role of the only American
woman in a cast of all-English men
and women and in an English locale
insisting on out-Englishing in speech
all her fellow-players.

It may be said of the others in the
cast the locale might have been the
United States and the characters na-
tive to the soil, but their reading of
their lines would have given entire
satisfaction. And it is entirely proba-
ble Englishmen in England will ac-
cept the present reading.

It is not a matter of surprise Miss
Chatterton should impose upon her
screen auditors what many of them
will characterize as stage affectation
or subservience to a tradition created

by a few stage directors in London
and fostered in large part by so-
called Americans convinced that if
anything is native to their own soil it
can't be the best. But it is surpris-
ing even a stage director hardly yet
a seasoned screen director should let
her get away with it.

Miss Chatterton has her partisans,
militant ones, on this speech stuff.
With one of these this writer eats
breakfast. Another helps make this
magazine. So maybe that's that.

The story is of high society, of the
titled kind, which for those who, like
Tommy, "dearly love a lord," should
make a fine start. It opens with the
wedding of the American woman with
the titled Kilkerry, described as one
of the finest and most popular men in
England.

The plot turns on the gradual rev-
elation to the bride that her husband
long has been intimate with Gemma,
wife of the bride's brother, and that
the relation continues. To name the
woman would be to destroy her
brother, the bride is convinced, as she
is certain tragedy would follow ex-
posure.

The bride "takes her medicine" like
a good sport. She seeks diversion in
travel and in bizarre doings. It is
while engaged in one of these divert-
ing occasions she meets Heiden, finely
played by Paul Lukas. It results in
friendship which if it fail to reach
triangular dimensions nevertheless is
exceedingly strong.

The puzzled Heiden does his utmost
to unravel the mystery of the unhap-
piness of this woman seemingly mar-
ried to one of the best of fellows. It
is when he is near success that an
automobile accident resolves the prob-
lem.

The closing reel of the story is
heavily charged with drama and
tragedy and suspense, with the wife
protecting the identity of the woman
fleeing with Kilkerry even going so
far as to insist that instead of it be-
ing Gemma it was herself who was in
the car when it overturned.

Paul Kavanagh has the part of

Kilkerry and Juliette Compton is
Gemma — characterizations well
drawn.

John Van Druten is credited with
the story and dialogue and Eve Un-
sell with the scenario.

If it means anything to anybody
the picture was held over in Los An-
geles.

Cunningham With Mirror

Ted Cunningham, for three years
manager of the Filmarte in Holly-
wood, has been placed at the head
of the Mirror Theater, formerly
the legitimate Vine Street Theater.
The Mirror after extensive alterations
was opened March 11, under a policy
of 25 cents top admission.

Fred Budrow, for ten years with
Hollywood Theaters as organist and
in other capacities, succeeds as mana-
ger of the Filmarte.

Howell in Hollywood

Albert S. Howell of Bell and
Howell, Chicago, made a hurried visit
of a few days in Hollywood during
March. He will return for a longer
stay in April.

Cooper Mends Break

James Cooper, after being laid up
six weeks, due to a broken vertebra,
is back at his desk in the office of
Dunning Process.

Turn your scrap film and short
ends into cash

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Hollywood

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WHETHER IT BE CARBON OR INCANDESCENT LIGHTING
WHETHER IT BE TALKIES OR SILENT

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April, 19.31

The INTERNATIONAL PHOTOGRAPHER

Thirty-nine

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Forty

The INTERNATIONAL PHOTOGRAPHER

April, 1931

A COMPLETE COURSE in

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MAPPING — MOSAICS — OBLIQUES

Starting April 6, 1931

Grand Central Air Terminal

Glendale, California

For Full Information

See or Write

L. M. CARVER

Curtiss ^Wright Flying Service

CApitol 6111

Glendale

CLASSIFIED

With Compliments

Earl (Curly) Metz

Assistant Cameraman

Aerial Photography

WM. H. TUERS

GR. 9097

HE. 1128

James E. Woodbury

Portrait and Commercial
Photographer

GRanite 3333 5356 Melrose Ave.
Los Angeles, Calif.

Giridlian

SECOND

CAMERAMAN

STerling

1295

TErrace 9152

W. A. SICKNER

FIRST CAMERAMAN

COMPLETE

AKELEY
EQUIPMENT

CRestview7255 GLadstone 5083
HEmpstead 1128

Alvin Wyckoff

Multicolor

FOR SALE— Cameras— Mitchell, Bell & How-
ell, Akeley ; lenses and accessories of all
kinds ; new and used. HOLLYWOOD CAM-
ERA EXCHANGE, 1511 Cahuenga Boulevard.

WANTED, second hand Leica Camera En-
larger ; must be in good condition. Jackson
Rose, care International Photographers.

MITCHELL high-speed Camera No. 225. Var.
Rossem, 6049 Hollywood Blvd. HO 0725.

WANTED at reasonable price. Mitchell fric-
tion head tripod, two F-2 Cook Lenses, Motor

for Bell & Howell. J. C. Sulzer, Box 498,

Atlanta, Ga.

MISCELLANEOUS

FOR SALE^Mitchell Camera equipped for
black and white ov for Multicolor. Harry
Perry, OXford 1908.

FOR RENT

Mitchell with Speed Movement
complete. Five matched and cali-
brated lenses.

4, 3, 2, 40 and 35 Pan Tachar
2 1000 ft. and 4 400-ft. magazines
1 Gear box and shaft
1 Baby tripod and high hat

Glenn R. Kershner

Culver City 3154

ELMER G. DYER

HE8116-HE1128

Walter J. Van Rossem

PHOTOGRAPHIC LABORA-
TORY.
MITCHELL CAMERA No. 225,

COMPLETE, FOR SALE

HOlly 0725 6049 Hollywood Blvd.

Hollywood, California

Art Reeves
Cliff Thomas

Phone
HOIIywpod 9431

EXCHANGE

The Clearing House

for Cameramen

Mitchell and Bell & Howells FOR RENT

Cameras and Projectors and
Accessories bought and sold

Commercial Photography

1511 N. Cahuenga Blvd.

HOLLYWOOD, CALIFORNIA

Kodak Supplies

Still Finishing

16 mm., 35 mm. Developed and Printed

SUPERSENSITIVE
PANCHROMATIC NEGATIVE

TYPE TWO
Pictures Completed or Currently in Production

PRODUCTION PRODUCER PHOTOGRAPHER

REGISTERED WOMAN
CHERI BIBI

BROCK COMEDY

MME. JULIE

BIG BROTHER —
OUR GANG

CHAS. RQGERS-R.K.O.

M.G.M.

R.K.O.

HAL MOHR

OLIVER MARSH

EDDIE CRONJAGER
ROY HUNT

TODD-PITTS COMEDY

WOMEN OF ALL NATIONS
RIDING FOR A FALL

CURE FOR THE BLUES —
LAUREL-HARDY COMEDY
THE MIRACLE WOMAN —
RED HANDED

HAL ROACH
HAL ROACH

FOX

EDDIE CRONJAGER
ART LLOYD

YOUNG SINNERS

DANCING PARTNERS

HAL ROACH
-COLUMBIA -

FOX

GEORGE STEVENS
-LUCIEN ANDRIOT
-ERNEST PALMER
-CHESTER LYONS

JACK STEVENS

JOE WALKER

ARTHUR EDESON
JOHN SEITZ

M.G.M.

OLIVER MARSH

Photographic Perfection

EASTMAN

SUPER-SENSITIVE
PANCHROMATIC NEGATIVE

TYPE TWO

J. E. BRULATOUR, Inc.

NEW YORK

HOLLYWOOD

CHICAGO

1 HE new

"QUICK RELEASE

for telescopic handles is now
standard on all new Mitchell
Friction Heads. It enables the
telescopic handle to be instantly
dropped out of the way when not
needed. The handle can be
quickly made ready for use by lift-
ing it into place and locking by
a quarter turn of cam lever arm.

I his convenience
can be installed
on your present
Mitchell Friction
Head at a small
cost

Mitchell Camera Corporation

665 N. Robertson Blvd., West Hollywood, California
Cable Address "MITCAMCO" Phone OXford 1051

.!'■• "

PHOTOGRAP

HOLLYVOOD

AINTAINING the same relation of

Color Balance

as its Regular Product

* EG. U.S. PAT. OFF

Special Panchromatic

Negative

requires no change in

Make-up, Costuming, Painting
and Dressing of Sets

SMITH & ALLER, LTD.

6656 Santa Monica Boulevard HOlIywood 5147

Hollywood, California

PACIFIC COAST DISTRIBUTORS FOR

Du Pont Pathe Film Mfg. Corp.

35 West 45th Street New York City

May, 1931

The INTERNATIONAL PHOTOGRAPHER

One

// I //

New Silent Unit I
Pilot Register Movement

COLOR and SOUND

in the B & H Standard Camera

WHEN BELL & HOWELL
engineering gave pilot
pin registration to the industry,
another chapter in the epic of
the cinema was written.

Today, history again dips its
pen. Bell & Howell presents a
silenced pilot pin mechanism
adaptable also for color by the
Bi-Pack processes. Thus, color
comes to the sound stage, and with equipment that
is fully tried and tested.

The new Bell & Howell silent Unit "I" move-
ment features a special cam cut to give a much
shorter stroke than the regular cam. Register leaves
are therefore controlled within very close limits,
eliminating "slap" on the aperture plate. Rocker
arm and register leaf are made extremely light.
Special rollers minimize the flapping of the film.

Bask Model B & H Standard Camera
adaptable for color, sound, or speed

Roller and inserts are of formica.
Write for complete informa-
tion on the new B & H Silent
Unit "I" pilot pin mechanism.

B & H 16 mm.
CONTACT PRINTER

An adaptation of the famous
Bell & Howell Standard Con-
tinuous Model "D" Film
Printer, the B & H 16 mm. Contact Printer has
every advantage and distinctive feature of the
35 mm. model.

Creepage or slipping is wholly overcome, film is
controlled at printing aperture; precision mechanism
assures perfect film movement and protects film
from abrasion, film contact at aperture is achieved,
lighting is mechanically controlled, framing is
unnecessary. Write for full details.

♦ BELL & HOWELL ♦

Bell & Howell Company, 1849 Larchmont Avenue, Chicago, Illinois • New York, 11 West 42nd Street
Hollywood, 6324 Santa Monica Boulevard * London (B & H Co., Ltd.) 320 Regent Street • Established 1907

Two

The INTERNATIONAL PHOTOGRAPHER

May, 1931

1 he Moreno-Snyder Continuous
Camera is a Fact...

In the International Photographer for November, 1930, we announced that the camera (and
projector) was in process of manufacture and that it would soon be ready. Delays were
caused by the addition of important new devices invented by Mr. Moreno.

Well, here it is — the camera that wise ones said could not be successfully fabricated — and
by test it looms as the ideal precision instrument in its field.

It is offered to the trade on its merits and here are some of them :

CONTINUOUS. The film passes through the cam-
era at continuously uniform speed with no inter-
mittent motion on either the film or any moving
part of the camera.

NOISELESS. This fundamental kinematic charac-
teristic permits of a design which is noiseless in
operation.

EXPOSURE TIME. At the new standard inter-
mittent film speed of 90 feet per minute the exposure
time per picture frame is Vis seconds. With the
M. S. Camera, and at a continuous film speed of
90 feet per minute, the exposure time per picture
frame is about twice as long or V->i seconds.

RESULT: Standard exposure with M. S. Camera is
obtained by about 50% of now necessary standard
illumination or of working lens aperture, thereby
increasing photographic values of picture.

SLOW MOTION. This camera is without any nec-
essary change of adjustment a silent "slow motion"
camera up to a film speed of about 300 frames per
second or 1125 feet per minute.

SOUND RECORDING. On account of the continu-
ously uniform progress of the film synchronized
sound recording can be effected at the correspond-
ing picture frames and not a predetermined distance
therefrom — another decided advantage over present
standard practices for sound on film methods.

COLOR PHOTOGRAPHY. The increased exposure
time for standard film speed offers great advantages
for any system of color photography.

DEPTH OF FOCUS. Another desirable character-
istic of the M. S. Camera is the fact that a greater
depth of focus is obtained for any definite setting
of any standard lens.

FOCUSING DEVICE. The change of camera from
focusing (finder) position to exposure position does
not move any heavy part of the camera; but is
effected by the jarless and practically resistless
moving of a small lever for about %". The photo-
graphic lens and the film are untouched, therefore,
no movement of any kind is required.

MAGAZINES. Delivery and windup film magazines
are separate from each other, permitting about 50%
reduction in weight and bulk of handling of camera
film supply.

CONVENIENCE. The M. S. Camera is lighter than
most professional cameras, is easy to set up and
its silence makes it a boon to the news men.

EXPOSOMETER. The handiest device ever in-
stalled on a camera. At a glance the cameraman
is able to determine the correct intensity of light
and exposure. This means standardization of nega-
tive density — enables the operator at will to abso-
lutely duplicate any predetermined lighting con-
dition.

TRICK WORK. For trick work alone the M. S.
Camera is worth more than its cost. Its steadiness
is amazing and its continuous movement enables it
to do wonderful things.

Our next announcement will concern itself with color photography and projectors.
Our illustrated folder will be sent to all inquirers about May 15.

Moreno-Snyder Cine Corporation, Ltd.

6250 Santa Monica Blvd. and 1072 Vine St., Hollywood, California

Phones— Office GR 0306— Shops GR 5277

GABRIEL GARCIA MORENO, Chief Engineer WILLIAM G. FAIRBANK, President

SILAS EDGAR SNYDER, Vice-President in Charge of Sales Promotion

INTERNATIONAL
PHOTO GPAPHE R

Affiliated with

Vol. 3

HOLLYWOOD, CALIFORNIA, MAY, 1931

No. 4

"Capital is the fruit of labor, and could not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.

C 0 N T

Front Cover — In Southern Arizona
Joe Harris, Photo

Shooting Zeppelin a Thrilling Job.. 4
Eg Elmer G. Dyer

Exposure Control Serious Problem . . 6
By Lewis W. Physioc

Masquers Reorganize Keystone Cops. 8

Condolences to the Harry Warners
from International Photographers 10

Cartoon 12

By Glenn R. Kershner

Rose Takes His Camera Into Local
Beauty Spots 14

"Hot Points" 17

Conducted by Maurice Kains

Dirt and Scratches 19

Conducted by Ira Hoke

E N T S

With Camera and Pen Parichy Visits

Old Granada 20-32

By Esselle Parichy

Looking In On Just a Few New

Ones 22-30

By George Blaisdell

In Memoriam — Nealson Smith 24

Amateur Department 25

Make-Up Hints for Amateur Actors. . 25

On One World Cruise Every Fourth
Passenger Carried a Movie Camera. 27

Henry Prautsch, Jr., Designs Emblem 28

Focusing Alignment Gauge Devised

for Photographers and Scientists 28
New Negative to Improve Quality. ... 29
By Fred Westerberg

Fearless Camera Convertible 35-50.. 36

Technical Editors

The International Photographer is published monthly in Hollywood by Local 659, I.A.T.S.E.

and M. P. M. O. of the United States and Canada
Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles, Calif., under

the act of March 3, 1879
Copyright 1930 by Local 659, I. A. T. S. E. and M. P. M. O. of the United States and Canada

Howard E. Hurd, Publisher's Agent

George Blaisdell Editor Lewis W. Physioc 1

Ira Hoke - - - - - Associate Editor Fred Westerberg \

John Corydon Hill - - - Art Editor

Subscription Rates — United States and Canada, $3.00 per year. Single copies, 25 cents

Office of publication, 1605 North Cahuenga Avenue, Hollywood, California. HEmpstead 1128

The members of this Local, together with those of our sister Locals, No. 644 in New York, No.
666 in Chicago, and No. 665 in Toronto, represent the entire personnel of photographers now
engaged in professional production of motion pictures in the United States and Canada. Thus
The International Photographer becomes the voice of the Entire Craft, covering a field that
reaches from coast to coast across North America.
Printed in the U. S. A. 1=^^>2 at Hollywood, Califoi-nia.

Four

The INTERNATIONAL PHOTOGRAPHER

May, 1931

Shooting Zeppelin a Thrilling Job

Cameraman's Reactions Following- Remarkable

Experiences Recording" on Film Latest

Melodrama of the Air

By ELMER G. DYER

Photographer Aerial Shots in "Dirigible"

PHOTOGRAPHING a giant air
liner in action is quite an ex-
perience and accompanied by
some thrills, too. When Columbia
assigned me to this "Dirigible" job I
knew I had my hands full, and it
would be something different from
anything I had ever before under-
taken.

When they told me the scenes would
be taken at Lakehurst, I knew it
would be still harder, since the atmos-
phere around this vicinity is not really
ideal for air photography. The sur-
rounding country is heavily covered
with forests and underbrush, and
there is nearly always a forest fire
somewhere. In fact, smoke seems in-
variably to hang around this loca-
tion.

It was quite a task to decide just
which filter to use. Joe Walker, the
chief, and I made numerous tests be-
fore the actual photographing of the
scenes was begun. The next thing
was to attach suitable camera mounts
to this giant airship and arrange them
in such places as to photograph the
story action to advantage.

Joe picked three set-ups and I de-
signed the mountings for the Zeppelin,
one shooting back out of a window in
the rear of the control car, one in a
side motor gondola shooting out, and
one in the rear motor gondola shoot-
ing forward.

It might be explained that a motor
gondola is not such an ideal place for
a cameraman to work from, but since
the front of the gondola is the radia-
tor it sure is a "hot" one. With an
enormous motor turning up 1200
r.p.m. the sound is terrific. After a

few hours of this one is nearly deaf
and half cooked.

The stunt being photographed was
a small Vaught-Cossar pursuit plane
hooking on to the trapese arrange-
ment attached to the bottom of the
Zep. Many trials were made before
a successful one could be completed.
We were about four hours in all
getting one hook-on, as the service
men call it.

New York at Night

At the same time Frank Capra, the
director, wanted a camera placed on
the rear end of the fuselage of the
plane to catch a close-up of the pilot's
action and the actual contact. Here
is a nice piece of business to watch.

It sure is a kick to see the pilot
jockey his plane with the finest ac-
curacy, for one bad move might mean
disaster, but the navy fliers are good,
they know their airplanes and put on
a real exhibition for the camera. We
got the scenes, and as I have heard
since they were the best that ever
have been done.

I had a lot of wonderful experience
on this production, especially the two-
day trip we made in the big Zep Los
Angeles. The night we went over
New York City was a great treat for
us. The ship took off in the dark for
the big city and we had no thought
of being in the air. I just can't get
away from that sight.

Coney Island looked like a fairy-
land of glimmering diamonds, and the
buildings looked different than I had
ever seen them before. They were all
lighted up, it being the time of night
when the scrubwomen are all doing

their tasks. The buildings all ap-
peared to be hollow and transparent
like great honeycombs.

Broadway at Seventh avenue with
all its dazzle of lights looked like a
great Milky Way on the earth. We
did not attempt to shoot this, as the
lights were too weak for registration.
We were waiting for daylight.

The coming of morning up there
was some sight and a great effect for
the camera. The sun rose like a great
crimson ball of fire over a vast sea of
white billowy clouds casting its bril-
liant yellow and pink rays over a dead
sea of cold mist.

Shooting pictures in or from a
dirigible is much easier than from a
plane. There is an extreme smooth-
ness that you do not have in a plane.
There is no terrific wash to cope with,
the wind is broken, there is no whip or
blast. Going ninety miles an hour in
a dirigible is like riding on a cloud.
One does not realize he is off the
ground. It is glorious flying in a
man-made bird, and it is so steady to
shoot from.

I have shot air scenes from many
kinds of air craft, but this tops them
all, and I hope everybody will some
time have a chance to ride in one.
Hunting a Set-Up

At Lakehurst we had some prob-
lems to work out besides shooting
from the Los Angeles dirigible. First
we had to get scenes of the Los An-
geles itself and we needed a place to
stand. You know, we couldn't just
walk over in the air and pick a shot.

So the navy solved the problem.
They gave us a blimp for the camera
ship, sort of a miniature edition of
the great Los Angeles, and you can
handle them like nobody's business.

It was quite a problem to mount the
Akeley on the gondola of this blimp,
or "J" ship. We placed a plank two
feet wide and twelve feet long across
the gondola. This was chained fast
to the forward end and furnished a
nice spot from which to shoot, giving

May, 1931

The INTERNATIONAL PHOTOGRAPHER

Five

1. Dirigible Los Angeles passing over Liberty in New York harbor. 2.Los Angeles on the ground. 3. Dirigible at-
tended by several of her satellites, the blimps

free access to most all angles. On
this plank we screwed down the
Akeley air camera.

These procedures took care of the
camera — but just where the camera-
man was to stand was something else
again. So I just straddled the side
of the gondola and rode it like a horse
and strapped myself to the plank di-
rectly in back of the Akeley.

A "J" ship is powered with two 200
h.p. Hiso motors and flies at top speed
about 70 miles per hour. We were
able to keep fairly close to the zep and
get many intimate shots.

We shot the dirigible over New
York city, and there is where I had
much g-rief with the light and smoke.
Although the sun was shining, a
terrible yellow pall hung over Man-
hattan Island. This, I understand,
was caused from carbon and dust par-
ticles in the air from the factory
chimneys on the Jersey side, and it
just so happened the wind was in the
right direction to carry it all over the
city, nearly blocking out the back-
ground.

For these shots I employed heavy
haze cutting filters, and yet the detail
is not as I would like to see it. The
Los Angeles was flying at an altitude
of about 2000 feet, and this made all
the more haze to cut.

Seven Hours in Air

I had to make a shot of the statue
of Liberty and we descended to about
300 feet and circled around it. This
was a kick, as we practically stopped
for a few minutes while we took a
shot. Since we had reduced our alti-
tude, the photographic quality was
much better, as there was much less
haze to penetrate, and these shots
came out very fine.

We returned late that day, having
been in the air about seven hours.
We overtook the Los Angeles above a
very beautiful spot where the lakes
and inlets reflect like mirrors. With
a low sun the big cigar registered
beautifully in the backlight and we

landed just before darkness near the
hangar at Lakehurst.

The next day was a real day for
air shots. The weather had changed
and the atmosphere was clean and
snappy. Aided by a good wind the
clouds were the cumulus kind that
float about like big mountains of white
snow.

We were assigned a navy plane to
use for the camera ship — another
Vaught. I mounted the camera on
the scarf mount ordinarily used for
the machine gun, and by adding sev-
eral pieces it makes a very wonderful
camera mount, since it can be moved
from one position to another by re-
leasing with a hand lever. Also the
motor batteries can be carried in the
baggage compartment.

The stunt plane was a navy Boeing
pursuit ship piloted by a little flyer
named Pee Wee O'Brien from the
Anacosta naval air station at Wash-
ington, D. C, and I mean to tell you
he's a real flyer.

We hopped off about ten. o'clock, got
about 9000 feet altitude, jockeyed into
position, and then we went into a
power dive, and this flyer certainly
did some real flying — upside down,
tail spins, nose dives, loops, spirals
and about everything else I can name
and then some.

He did one of the most spectacular
stunts I have ever shot. He came
down in a dive and did a half loop
and at the top spun straight up. This
was a most unusual stunt. It's in the
picture and gets a lot of comment.

Bouquet for Two Pilots

We spotted a beautiful cloud stand-
ing high like a frozen tower of snow.
O'Brien flew right into this beautiful
mass of mist and out the other side,
giving an unusual effect. Then he
would go flying into great shadowy
canyons and out over big billowy
golden crowned clouds. This was the
background I had to shoot against,
with a couple of sweet pilots to man
the ships.

Last but not least is the great

hangar where the giant dirigible Los
Angeles and her three baby blimps
rest. My first look at this place
stopped me. Unless one has seen this
great "Cathedral of the Air" he will
have no idea what a massive piece of
architecture it is.

Something around 750 feet long,
250 feet high and 300 feet wide, it
houses all four of these ships and has
room for some airplanes and other
paraphernalia. My first impression
was that it was not so big, but when
I started to walk from one end to the
other I soon found out otherwise.

Other members of our company
made the same discovery, for shortly
we were employing a light truck to
transport our camera and props
around. Then when I rode an eleva-
tor up about ten or twelve stories I
knew it really was big. The view
from the top level of the runways is
a fine one and we made many interest-
ing shots as the ships were being
taken in and out.

Man chained for ages has broken
his earthly bonds and soars to glorious
new conquests. We saw the greatest
array of both lighter and heavier
than air craft ever assembled at any
time. It presented one of the mighty
spectacles against which the story
"Dirigible" is staged.

This was done with the full co-
operation of the United States Naval
Air Service at Lakehurst. Thus was
made possible the massing of large
amounts of both types of aircraft,
affording marvelous backgrounds. It
was beautiful to see the dirigible Los
Angeles in flight — and unforgettable.

Gliding gracefully and majestically
over cloudbanks, drifting over some
dream world vista and more fanciful
than real, bound heavenward seeking
new adventures, this wonder ship
seems to represent man's glorious con-
quest of the furies and forces of na-
ture.

Truly of such things mighty dreams
are made.

Six

The INTERNATIONAL PHOTOGRAPHER

May, 1931

Exposure Control Serious 'Problem,

By Tests and Experiments Cameraman Must for

Himself Determine New Negative's Speed

And Other Chief Characteristics

BY LEWIS W. PHYSIOC

Technical Editor

THE perfection of the new, high-
speed panchromatic emulsion
has suggested to the mind of
the cameraman a very serious con-
sideration of the problem of control
of exposures in motion picture pho-
tography.

It should be needless to call the
photographer's attention to the im-
portance of exposure, but it may be
interesting to some, especially the

Lewis W. Physioc

veterans of the industry, to review
the history of motion picture photog-
raphy from the standpoint of the ex-
posure.

There are a few cameramen still
operating who can revert to the early
days when motion picture operations
were confined to New York and its
vicinity. Their tools and conditions,
at that time, consisted of cameras
without any shutter control, a single
lens working at F4.5 aperture, nor-
mal speed of sixteen pictures a sec-
ond and a film much slower than the
present emulsion.

We presume that only the manufac-
turers could furnish records that
might show a comparison of the emul-
sion of those early days with that of
the present time.

During that early period the ex-
posure was controlled entirely with
the diaphragm of the lens. Many
operators can affirm the statement
that proper exterior exposures were
obtained with the diaphragm closed
as far as F16. and F22. for direct
light, Fll. for cross light and F8. for

reverse lighting, using only a soft
white reflector. Under hazy, over-
cast skies and on diffused sunlight
stages ample exposures were had at
F6.3 and F8.

That California Light

When the scenes were shifted "to
the Coast" the general cry went
forth : "Be careful of that fast Cali-
fornia light!" However, many cam-
eramen, on their first visit to the
Coast, discovered that the western
boys were exposing much more heavi-
ly than those in "the East."

Investigation proved, further, that
the western laboratories were very
admirably meeting this condition with
developing formulae greatly modi-
fied in comparison with those of the
eastern labs.

The few succeeding years ushered
in some remarkable changes in mo-
tion picture photography and general
technique. First among the innova-
tions may be mentioned the improved
cameras, providing an additional
means of controlling the exposure
with an adjustable shutter.

Faster lenses were introduced. The
daylight stages were abolished and
covered stages, lighted entirely with
artificial light, were instituted. Fi-
nally, a very important period was
recognized in the development of the
fast, panchromatic emulsion.

During these rapid developments
the cinematographer might justly be
concerned about his exposures. But
the surprising fact was observed that
exposures began to increase, with a
further modification of developers
containing a small percentage of
alkali and the ultimate substitution
of borax for sodium carbonate, to
compensate for the increase in ex-
posure.

Seeking a Reason

In search of a reason for this we
are inclined to go beyond the argu-
ments which claimed that these con-
ditions represented the natural ex-
pedients in the aesthetic developments
of the art of photography — advanced
ideas of technique. We may find the
answer in a purely psychological con-
sideration.

Incidental to these technical evolu-
tions, the pictures began to develop a
degree of elaboration and financial
display that excited a sense of awe,
not only in the minds of the laymen
but also in the minds of picture op-
eratives.

It is generally thought that there
is (or should be) an idea of respon-
sibility associated with the spending
of vast sums of money, and with the

cameraman rests a healthy share of
this responsibility. After all the ela-
boration and preparation it is he who
must give assurance that these efforts
should not be lost in the mysteries of
photography.

The day had now passed when pro-
ducers could trust these enormous in-
vestments to crank-turners relegated
from alien departments of endeavor.

Such a responsibility may have in-
timidated some of the cameramen into
a supposed position of security by
employing all the light furnished by
the Creator (or his specially ordained
agent, the electrician) and availing
himself of the full limits of the cam-
era and to intrust the rest to the lab-
oratory.

The lab expert, in turn, realized
that if he should develop such ex-
posures in the accepted formula he
would never be able to print the nega-
tives, or if he could, they would be
harsh, grainy or flat and he would
lose a customer. He, consequently,
modified his developer in order to ob-
tain printable negatives.

Responsibility for Negatives

To excuse such conditions the
writer can freely state that, even
after many years of experience, he
knows of no other thought so terrify-
ing as that of judging the exposures
of a motion picture negative where
so much expense is involved.

Variations in exposure are likely
to be the result of as great a variety
of influences in each production as
the changes in natural conditions, the
shifting of a chief electrician or
change of personnel in the lab; the
very mystery, itself, of working with
photographic materials, contemplat-
ing that magic latent image over
which he has no visual control and
which he must intrust to the lab ex-
pert.

The responsibilities and difficulties
have increased also with the intro-
duction of the developing machine
which demands greater accuracy in
exposures. However, this laboratory
improvement ultimately will work to
the cinematographer's advantage, for
while the former system of developing
could sometimes compensate for er-
rors, in exposure it just as frequent-
ly aggravated those errors.

The machine can standardize de-
velopment to such an extent that the
progressive cinematographer can
check his exposure from day to day
and greatly improve his work.

In reverting to our consideration
of the new type of emulsion we linger
over the comparison of the film of
early days, and the eyes of our cam-
eras approach this brilliant achieve-
ment as do our own eyes when look-
ing at the sun — through a "smoked
glass."

Little Lab Change

The manufacturers have furnished
us a material that greatly broadens
the cameraman's scope of endeavor;
but its control is directly up to him,

May, 19S1

The INTERNATIONAL PHOTOGRAPHER

Seven

for we anticipate very little change in
the routine of the laboratory. Let us
consider the treatment of the new
film, therefore, from the cinematog-
rapher's standpoint. Some new prob-
lems are introduced and these are
worthy of study.

For the last few years observations
in the laboratory disclose the fact
that negatives in general are printing
on the heavy end of the printing
range, particularly the exterior
scenes. The shadows have a clogged
or veiled appearance.

Prints from such negatives lack
brilliancy, the shadows are gray and
muddy, and the highlights are lacking
in transparency. Such quality is due
to the tendency to overexpose and the
incumbent method of superficial de-
velopment. Herein lies the danger of
fast lenses and speedy film.

The ideal negative should print in
the middle of the range, but this is
not now so important as in the days
of tank and eye development, when
modification of contrast could be ob-
tained by using the printing latitude
on either side of the range, as the
case required, and compensation made
in development. The machine has
dispensed with this treatment.
Much Work Ahead

However, there is some danger that
by poor control of the fast emulsion
the density may increase to such an
extent as to throw the printing range
so far toward the heavy end that the
entire printing system must be
changed or the increase in exposure
must again be taken care of in the de-
velopment in order to maintain the
present density. But we must ever
bear in mind that too superficial de-
velopment does not produce desirable
negatives, and muddy, flat, gray
prints will be the result.

All this establishes the fact that
the cameraman, while taking advan-
tage of this increase of sensitivity
when needed, must control this same
additional speed when light conditions
are more than ample.

In controlling exposures, the cine-
matographer has several elements at
his disposal: the diaphragm of the

lens and shutter adjustment in cam-
era manipulation; the use of filters,
both color compensators and the neu-
tral, and in conjunction with these,
he has the important matter of judg-
ing the quantity and quality of light,
both natural and artificial; and last-
ly, and not least important, the speed
of the emulsion.

Since the introduction of sound the
rate of speed at which the film travels
through the camera is hardly to be
considered.

These expedients have their dan-
gers, disadvantages and abuses, and
should be studied individually.
Diaphragm of Lens

Many cinematographers prefer to
work with open lenses, for it is gen-
erally accepted that the wiry sharp-
ness of the diaphragmmed lens is not
desirable in portrait treatment of
close-ups. Even in exteriors more
artistic effects are achieved with the
softer focus of the more open aper-
ture.

Without discussing the abuse of
carrying this system to extremes or
speculating as to the popular accept-
ance of highly blurred objects moving
in the background of "close-ups" or
"medium shots" the determined use of
wide open lenses removes the dia-
phragm as a means of exposure con-
trol.

Shutter Adjustment

Before the introduction of sound
the closing of the shutter, in varying
degrees, was not very objectionable
except in some instances of rapidly
moving objects across the camera at
close range. But in talking pictures
the shutter opening is an interesting
factor.

Even with the full opening of 170
degrees we have the proposition of a
100 per cent record of the sound with
less than 50 per cent of the action in
the picture that must accompany the
sound.

It should, therefore, appear that
the most perfect synchronism would
require a picture recording as much
as possible of the action; and that a
shutter closed down to too great a
degree would impair the synchron-

ism. This is particularly noticeable
in the lip movement of large close-ups
or some accompanying rapid, staccato
movements.

This may not be generally noticed,
but the trained eye catches it, and it
will certainly not be improved by re-
sorting too much to the use of the
shutter in controlling exposures.

There are times when the picture
appears to run out of synchronism
and again readjusts itself. Even the
public sometimes feels the lack of
perfect illusion, and it is probably due
to the insufficient record of the action
compared with that of the sound.

Film cutters have observed this
with particular systems of recording,
for which reasons "circle marks"
when being photographed are held in
contact long enough to avoid the pos-
sibility of the shutter being closed at
the moment of the sound emission.
Filters

The matter of filters is a very ex-
tensive subject in itself and much has
been said and written on this topic.
Suffice it at the present to say that it
takes a great deal of nerve, knowl-
edge and self assurance for a cinema-
tographer to place any sort of a me-
dium in front of his lens, particularly
the so-called "smoked glass" or neu-
tral filter; yet surely these are among
the expedients of exposure control, as
well as a means of insuring quality.

This is a very complicated demand
on his judgment. It requires much
experience and knowledge in select-
ing the proper filter in conjunction
with a correct judgment of the qual-
ity of the light and color and charac-
ter of the subject to be rendered.
Here the dangers of overcorrection
may be encountered, aside from any
consideration of exposure.

The neutral filter has been very
successfully employed in controlling
exterior exposures. In strong sun-
light it appears to prevent that un-
desirable veiling of the shadows and
yet permits of soft illumination of
the shadowy portions of the picture
and at the same time prevents the
choking up of the highlights. Care
must be exercised not to use too
heavy a degree where brilliancy and

Dirigible Los Angeles sailing over her hangar at Lakehurst, and (2) through the clouds. Photo by Elmer G. Dyer

Eight

The INTERNATIONAL PHOTOGRAPHER

May, 1931

contrast are sought, especially in
bright diffused light.

Lighting

In discussing the subject of light
we need take natural light into con-
sideration only where boosters and
reflectors are concerned, for with the
high speed emulsion we may nearly
always be assured of an exposure,
and these aids are to be used where
contrast is to be enhanced in dull,
flat light, in back lighting or great
areas of shadow cast by large masses
such as trees or buildings.

In treating of the artificial lighting
of the studios we find a great deal of
matter for speculation in the wide
discussion of the saving of electricity
by the use of the new fast emulsion.
This suggests an interesting question

as regards the individuality of the
cameraman.

Will he be concerned about greatly
reducing the cost of lighting or will
he use this new condition to work our
a new technique in lighting? Here-
tofore he has had to crowd the set
pretty closely with an extensive
equipment. We may find him taking
advantage of the situation by adopt-
ing a longer range.

This would mean more freedom of
operation, personal comfort for the
players, entirely different effects by
better diffusion of the general light-
ing, soften the shadows and produce
better balance between shadow and
highlights, smooth out skin textures,
permit of the proper "kick" in the
special effects and we know not what

Masquers Reorganize Keystone Cops

HEREWITH we present the Key-
stone Cops up to the minute.
Readers will recall in the April
issue we reprinted Harry Vallejo's
photograph of the original Keystone
Coppers. Over in the Pathe Studio,
where the Masquers Club has just
finished "Stout Hearts and Willing
Hands," the first of a series of
comedies being produced for the pur-
pose of raising funds to build a club-
house, the picture attracted real at-
tention.

A request was made of Mr. Vallejo
that the studio be permitted to re-
produce the still and use it in ex-
ploitation of the series. The okeh of
the photographer was immediately
and cordially returned.

Phil Gersdorf of the Pathe organi-
zation writes that in the initial sub-
ject the Masquers have incorporated

a chase wherein the heroic coppers of
the reorganized world's most famous
police force save the hero and hero-
ine, Frank Fay arid Laura La Plante,
from the clutches of the villain, Lew
Cody.

In this chase have been incorporated
as many of the original Keystone
cops as possible. "I am sending you
a still of this revamped group and
thought you might like to use it in
a forthcoming issue," adds Mr. Gers-
dorf.

So here are the coppers, reading
right to left: Ford Sterling, chief;
Chester Conklin, Bobby Vernon, Mack
Swain, Clyde Cook, Hank Mann and
Jimmy Finlayson. As the heroine and
the hero are busy being pursued by
the villain they are unable to be pres-
ent.

other improvements may be achieved.

Some critics have felt that the fast
lenses and speedy emulsions have cre-
ated a tendency to overlight interior
sets. There has not been a proper
separation between background and
subject. There has been an apparent
desire to light every nook and cranny,
thereby destroying those mysterious,
shadowy recesses so interesting in in-
terior lighting.

This excess of overall lighting also
neutralizes any positive light effects,
such as lamps in the set or light
through windows, etc. Anything that
will help us overcome such errors will
be worth more than a saving of elec-
tricity.

Speed of Film

We see nothing in the use of the
new film that should disturb the pro-
ducer. It is merely an improvement
of one of the elements of his indus-
try. Neither should it worry them as
to the processing, for the labs should
soon be able to determine what pre-
cautions, if any, they must adopt to
prevent light or chemical fog.

In summing up this consideration,
we can see but one issue — it is the
cinematographer's individual respon-
sibility.

It is merely a new tool that has
been handed him, and he is expected
to master it. We can accept the man-
ufacturer's word as to its speed and
characteristics, but the wily camera-
man should determine these for him-
self by making careful tests and ex-
periments.

The manufacturers have done their
part in furnishing a fine material;
the photographer must now do his by
demonstrating his control of it.

Engineers Convene at Night

So Workers May Be Present

THE tentative program for the
spring meeting of the Society of
Motion Picture Engineers to be held
in Hollywood, May 25 to 29, just an-
nounced by W. C. Kunzmann, chair-
man of the convention committee,
shows that every effort has been
made to allow eastern members to
see as much of the studios as possi-
ble and also to permit the studio
workers to attend meetings without
interfering with their regular work.

Only one afternoon session will be
devoted to papers, while the three
others will be given over to trips to
studios and other points of interest.
Two technical meetings will be held
at night so that studio workers may
attend.

The banquet will be held Wednes-
day evening in the Hotel Roose-
velt, convention headquarters. All
technical sessions will be held at the
American Legion Auditorium.

Peter Mole has been appointed
chairman of the arrangements com-
mittee and a reception committee of
twenty will welcome Eastern dele-
gates.

One of the features of the meeting
will be an exhibit of new equipment
developed in the last year. From the
number of manufacturers who will
display equipment an exhibit of unu-
sual interest is assured.

May, 19S1

The INTERNATIONAL PHOTOGRAPHER

Nine

/After tests covering two years time

The Raytar Lens

is ready for your approval

Now, two years after the completion
of the first Raytar Lens (designed under
the direction of W. B. Rayton, director
of the B. & L. Scientific Bureau), the
complete line is ready for distribution.
During these two years the lens has
been subjected to exhaustive labora-
tory tests much more exacting than the
actual requirements of the studio.

These tests prove that no competing
lens equals it in the even definition it
produces over the whole picture area.
The results of these tests supplemented
by the enthusiastic approval of users
whom we have been able to contact
directly, abundantly justify us in an-
nouncing them to the Cinematographers
backed by the full B. & L. guarantee as
to quality and performance.

Positive Focus

Sharp definition and positive focus
are characteristic of the Raytar. The
point of focus is very definite and a
slight adjustment in either direction
shows the image to be distinctly out of
focus. Hence there is no uncertainty
and an exact focus is easily obtained.

Glass That Will Not Tarnish

The Raytar is made from glass de-
veloped and made in the Bausch & Lomb

glass plant and it will not tarnish or
discolor. Rigid tests over a three-year
period confirm this statement.

Fully Corrected

These lenses are fully corrected and
perform equally well with arc or incan-
descent illumination and with ortho-
chromatic, panchromatic or high speed
film.

The Mountings

Special attention has been given to
the accuracy and mechanical construc-
tion of the mountings and they will
stand up under more abuse than they
would ordinarily be expected to endure.

Speed and Focal Lengths

Lenses of the following speeds and
focal lengths are now in stock:

f2:3 35 mm

40 mm

50 mm

75 mm

100 mm

f2:7 152 mm

The above statements are made only
after the most severe tests and can be
confirmed and substantiated. You are
invited to try the RAYTAR.

Bausch & Lomb Optical Co.

ROCHESTER, N. Y.

Ten

The INTERNATIONAL PHOTOGRAPHER

May, 1931

Controlenceg to tfje Harrp Earners
from Snternattonal $fjotograpf)erg

Leivis Warner

Evolution

'^^{jcreasi, the officers and members of International Photog-
raphers, Local 659, of the International Alliance of Thea-
trical Stage Employees and Moving Picture Machine Operators,
having learned with deep regret of the untimely passing of Lewis
Warner, only son of Harry M. Warner, it is hereby

Resolved, by the Executive Board of this organization, that the
sympathy of our members be extended to the father and mother
in their great bereavement over the loss of this son at the door-
way of a career which his associates had every reason to believe
would be of large scope and usefulness; and be it further

Resolved, that a copy of this resolution be forwarded to Mr.
Warner, with whom during the past two decades many of our
cameramen have been closely affiliated; and that a copy be spread
upon the minutes and also be printed in the next issue of the Inter-
national Photographer.

Engineers to Hold Session

on Photography in Color

DR. C. E. K. MEES, director of
research, Eastman Kodak Com-
pany, and acknowledged to be
one of the foremost authorities on
photography, has just accepted an
invitation to preside at a special color
photography session to be held during
the Society of Motion Picture Engi-
neers' Spring Meeting in Hollywood,
May 25 to 29.

At this session a number of papers
will be given by leading authorities
and specialists in the various color
processes, and outstanding examples
of color photography will be shown.
Special sessions also will be devoted
to sound recording, studio practice
and film characteristics and process-
ing. According to 0. M. Glunt, chair-
man of the papers committee, lead-
ing authorities in each of these fields
have been secured to give papers and
demonstrations. What is expected to
be of unusual interest for the sound
recording session will be the showing
of outstanding examples of recording
which have been produced in a num-
ber of the studios in the last few
months.

Los Angeles Camera Club

Moves to Larger Quarters

THE Los Angeles Camera Club is
moving May 1 from its quarters
at Third and Spring to 2504 West
Seventh Street, near Westlake Park.
In its new home the club will have a
laboratory and projection room, por-
trait room, two enlarging rooms, two
printing, two dark rooms for negative
development, and work rooms for fin-
ishing. The equipment will be mod-
ern throughout.

The club also is the possessor of a
library on art and photography. All
members of the I. A. T. S. E. are
invited to attend the meetings of the
club, which are held on Thursday
evenings. At the present time there
are 125 members, with 100 applica-
tions pending. These latter will be
acted upon by the club immediately
following its occupancy of its new
quarters. The local club is a member
of the American Association of Cam-
era Clubs.

S tuber and Mees to Coast

W. G. Stuber, president of the East-
man Company, and Dr. C. E. K.
Mees, chief of the Eastman research
department, will leave Rochester May
14 for the west coast, arriving there
four days later. The president will
be in Los Angeles for a week. It is
his first visit in two years.

Dr. Mees will be in Hollywood for
the Engineers' convention, the ses-
sions of which will run from May 25
to 29. It is Dr. Mees' first west coast
visit in four years.

Death of Edward Bader

Edward Bader, father of Walter
Bader and father-in-law of Ben Rey-
nolds, both of the International Pho-
tographers, passed away March 27.

May, 19.ll

The INTERNATIONAL PHOTOGRAPHER

Eleven

THE FEARLESS CAMERA CO.

^Announces. . .

A new Magazine Adapter for Bi pack
color photography and process shots.

The Dual

magazine

adapter is built

for Mitchell,

Bell & Howell

and Fearless

Cameras.

5=50^=5

Illustration shows new
Fearless Camera ar
ranged for color. Price
of adapters: $200 for
1000 foot Magazines;
$150 for 400 foot
Magazines

The

Fearless Camera

Priced

at $4000

Complete

for either 35 or

50 mm. film.

Equipment
Consists of

Camera and Case, Fear-
less Friction Head Tri-
pod, Matte Box and
Filter Holder, Fearless
Synchronous Motor,
Fearless Motor Adapter
and Clutch Combina-
tion, 2-Magazine Cases,
4 Fearless Film Maga-
zines (1000 foot), 4
"Hugo Meyer" Lenses

1. Saves costs of special magazines.

2. Made for Mitchell, Bell & Howell and Fear-
less cameras.

3. Enables every cameraman to make Multi-
color negatives.

4. Saves time and space.

5. Uses standard magazines.

6. Ball bearing construction. Eliminates trouble
and buckles.

7. Finest workmanship and material throughout.

THE NEW

FEARLESS CAMERA

1. A universal camera for both 35 or 50 mm.
film.

2. Built for colorwork.

3. Is silent and requires no booth.

4. Ball bearing throughout.

5. The only camera built with all working parts
enclosed and running in oil.

THE FEARLESS CAMERA CO.

Phone GRanite 7111
7160 SANTA MONICA BLVD. HOLLYWOOD, CALIF.

A SUBSIDIARY OF THE GENERAL THEATRE EQUIPT. CORP.

Twelve

r1'

The INTERNATIONAL PHOTOGRAPHER

May, 1931

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May, 19S1 The INTERNATIONAL PHOTOGRAPHER Thirteen

A REMARKABLE
NEGATIVE FILM

IN OW you can have from two to three
times the speed of ordinary negative,
especially under Mazda lights . . . greater
exposure and developing latitude . . . un-
excelled color balance . . . every other
quality essential to the finest sound pic-
tures, including typical Eastman uniform-
ity.. . at no increase in cost. Every test, in
the laboratory, in the studio, on the lot,
confirms the belief that Eastman Super-
Sensitive Panchromatic Negative, Type 2,
is the most remarkable negative emul-
sion ever offered the camera man. Eastman
Kodak Company, Rochester, New York.
(J. E. Brulatour, Inc., Distributors, New
York, Chicago, Hollywood.)

Eastman Super-Sensitive

Panchromatic Negative, Type 2

Fourteen

The INTERNATIONAL PHOTOGRAPHER

May, 1931

Rose Takes His Camera
Into Local Beauty Spots

IT may be true a prophet is
not without honor except in
rhis own country. And most
flRBrv true it is that a photographer in

A search of a subject sees beauty

and charm in a country or a
town other than his own. In
other words it is the natural
thing that familiarity shall
breed indifference even if it do
not reach the dignity of con-
tempt.

Jackson J. Rose, one of the
early members of the Interna-
tional Photographers, while be-
tween pictures was seized with
the thought that within the
boundaries of some of Los An-
geles parks there might be
found spots as yet unsighted by
the many hunters for photographic gems.

One of the first of the locations sought by Mr. Rose was
Lafayette Park, ranging between Sixth and Seventh streets
and forming the terminus from which the majestic Wilshire
Boulevard starts on its approximate fifteen mile crow's flight
to the sea. From the eastern side of the park a few minutes'

Jackson J. Rose

May, 1931

The INTERNATIONAL PHOTOGRAPHER

Fifteen

rive lands one in the center of the busy business district
f Los Angeles.

Possibly no park in Los Angeles affords such a striking
Dntrast with its immediate surroundings as does Lafayette,
hown in the photograph in the lower right-hand corner of
tie preceding page. Mirrorlike pools reflect the heavy foli-
ge of the trees which in turn provides shade for graveled
ralks.

Directly overhead is a glimpse of Hollenbeck Park, at East
'ourth street and Boyle Heights, just outside the business
istrict on the south.

To the right of the latter picture is what Mr. Rose has
amed "Sunlit Shadows." It was photographed near the
icnic grounds in Griffith Park, those four thousand acres
f mountain and valley and plain which with the exception of
he beaches form the principal within-the-city playground for
le residents permanent and temporary of Los Angeles.

Below is one of the drives near the picnic grounds in
[riffith. The road leads to the famous Griffith Park golf
Durse, one of the most popular recreation spots in the city.

The upper left panel brings us to one of the beauty spots
f Los Angeles. It is a lesser known area paralleling for a
alf mile on the west the prolongation of the Western avenue
ntrance to the park. The gardeners have constructed or
erhaps preserved and enhanced a jungle-like glen of brook
nd fern and rock and log and tree, interlaced with graveled
ralk, such, for example, as we see below.

In the lower picture of the right-hand panel will be found
nother shot in this same half mile of beauty, a visit to
rhich well will repay either visitor or resident.

In the upper half of the right-hand panel is a reproduction
I some gnarled old-timers found near the zoo in the north-
rn part of Griffith Park.

Sixteen

The INTERNATIONAL PHOTOGRAPHER

May, 1931

Tielieving Excessive
Production Costs

If it

s not a

CONSISTENTLY striving to
anticipate as well as to meet
the demands of advanced motion picture
production, j£a&e*^fe4 continue to
contribute to the motion picture indus-
try countless incandescent lighting fea-
tures developed and produced at con-
siderable cost after long-time tests —
with intensive study given to the req-
uisites of modern production — features
that in their proven indispensability to
the industry relieve the motion picture
producer of necessity for experimental
work which greatly adds to his costs.

These important «^^r develop-
ments are protected both here and
abroad by Lakin Corporation — a mani-
festation of pride for a product that
today is recognized as the utmost in
studio lighting equipment.

it's not silent!

))

LAKIN CORPORATION

1707 Naud Street

Los Angeles, California

CApitol 14118

($ream oth Stills

c^^L'O*

// */om womM star* f/ie summer right come into Coachella Valley with Shirley Martin — assuming of coarse you
are strong on heat. If at all susceptible to the effects of a rising thermometer better make the date for January

.*^r'o„.

Gream oth Stills

rf!^?oA

°CRN*"

With Chief
Photographer

J. M.'F. Haase,
U.S.N., look down
upon the ice-capped
summit of Mount
Fair weather,
Alaska, the first
close-up camera
record of this
elevation of 15,460
feet. Not even
fur-lined suits,
chamois face masks,
double gloves and
fleece-lined mocca-
sins over boots
could stop the
unspeakable cold

"Merced River
Rapids" is the best
information obtain-
able from Les
Rowley regarding
this interesting shot
of tumbling water
— a teaser to a man
who owns a pair of
hip boots and a
fishin' pole

*w,~

"°CR^

Qream oth^tills

„SAT/o

'°6rn*"

// you have suffi-
ciently recovered
from the chill of
that Alaskan
summit take a peek
at the power
schooner Eloria
frozen in plenty
near Flaxman
Island in the Arctic
Ocean. Will E.
Hudson of Pathe
News tells us just
this and not another
word, but his picture
speaks volumes

What press agents
these photographers
are — not!
Oliver Sigurdson
goes so far as to
stamp his name on
the back of the
original of th is
picture, leaving it
to the imagination
of the editor.
Well, it looks like
one of those
impromptu cabins
we used to see in
the Bronco Billy
westerns — and
nmaybe it is

Mack Elliott gives us a flash of the Biy Tree Grove at Wawona, California. The deep calm of the sylvan

setting has settled down upon the tempestuous Lupe and the temperamental Ri)i Tin Tin, the former seated

upon a chair that has been rooted to the spot for thousands of years

May, 19.il

The INTERNATIONAL PHOTOGRAPHER

Seventeen

HOT POINTS

CONDUCTED BY MAURICE KAINS

SINCE there still is considerable
controversy among assistant
cameramen regarding their
choice of studios, systems and equip-
ment, let me speak my mind on the
subject right here and now. By act-
ual experience in almost all of the
studios I find that the equipment in
use by the Fox organization is the
most portable, the least complicated
and requires less time in changing
set-ups.

Its most competent corps of cam-
era machinists is ever devising new
and better equipment or is servicing
the outfits to perfection. Here is, for
example, a most clever and efficient
follow-focus device which is simplicity
itself.

The accompanying photograph

Follow Focus Device

needs almost no explanation. It is
the product of Grover Laube, who is
in charge of the camera research de-
partment, and his associates, Charles
J. McGraw and Charles M. Miller.
These men deserve our congratula-
tions for this progressive step.

Each lens mount is fitted with a
little knob over which a snap socket
fits snugly. This eliminates the loose

play or back lash of gears. The
socket is part of an arm which is con-
nected to another arm by means of a
snap socket at a lower point. This
second arm runs directly through the
entire length of the interior of the
iris rod, where it is out of the way.
A quadrant is affixed to the end of
the iris arm and can be adjusted at
any desired angle and then clamped.

Quickly Dismounted

Various engraved calibrated cellu-
loid strips fit into a curved slot on the
quadrant and correspond precisely to
the lens in use. A handle with pointer
completes the accessory. It can be
locked at any point. In shots where
the follow focus is not required, the
snap socket arm is quickly detached
from the lens. The whole device
comes apart in a second. Its most at-
tractive feature, however, is this:

In watching the action it is not
necesary to turn the head away from
the action to look at the calibrations,
and the lens stop cannot become acci-
dentally disturbed.

Mr. Laube also has used a flexible
cable for operating the device in cases
where the assistant could not be close
to the lens.

Note the large finder bracket en-
ables the camera cover to clear the
equipment nicely.

Measuring Short Ends

"Imagine my embarrassment" ....
"We ran out of film on that shot" ....
"It was the loader's fault" .... "He
didn't have the correct footage
marked on that short end."

And so we find a device in use at
Technicolor which eliminates that
"take a chancey" feeling.

It is a shoe salesman's measuring
rule converted to show the exact num-
ber of feet in a roll of film of any size
up to a thousand feet, to be employed

in cases where only one size of spool
is used. The photograph tells the
story.

One studio uses a pair of calibrated
calipers for measuring from the in-
side of the roll to the outside dia-
meter. The spool is first partially
removed.

Another studio uses a weighing
scale and measures the footage exact-
ly by the weight of the film. Now
that faster film is coming in we'll
probably have to use less light in the
darkroom, which may necessitate a
change in your methods of determin-
ing exact footage of short ends. Take
your choice!

Come on, fellows, send in some
"Hot Points" and help a fellow out.
I ran diy for a long time.

Device for Measuring Short Lengths

Columbia Buys Caves Film

Elmer G. Dyer has sold to Colum-
bia Pictures the two-reel subject of
the Carlsbad Caves in New Mexico.
Aided by Hatto Tappenbeck the pho-
tographer took many shots from the
mountains covering the caverns,
showing the heavy banks of clouds
the vapors of which were responsible
for the remarkable formations inside
the caves.

The two men with their equipment
penetrated to the floor of the caverns
800 feet below the surface.

Double Exposure

Motorized Policeman — How did this
accident happen?

Motorized Inebriate — Hie — I saw
two bridges — hie — musta ran over the
wrong one.

Mickey Marigold brings in these stills in illustration of the manner in which directors secure explosion shots. The
picture on the left first was taken, then the second and then one was printed over the other. The finished result >'«

shown in the picture on the right

Eighteen

The INTERNATIONAL PHOTOGRAPHER

May, 1931

Engineers Name Groups to

Study Projection Practice

THE Society of Motion Picture
Engineers has begun a special-
ized study in all phases of mo-
tion picture projection and has ap-
pointed three separate committees to
carry out the work.

The committees consist of projec-
tion practice, projection theory, and
projection screens, with H. Rubin, W.
B. Rayton and S. K. Wolf acting as
chairman of each committee respec-
tively.

The projection practice committee
is dealing with problems such as the
ideal layout of the projection room
and is collaborating with theatre
architects to insure the most satisfac-
tory location of the projection room.

Other problems under investigation
are projection room routine and
maintenance, monitoring and control
of sound in the theatre, improvements
in projector design and accessories,
film buckle, prevention of film mutila-
tion, and fire prevention.

The projection theory committee is
making studies of the optical system
of the projector, methods of diminish-
ing eye strain, projectors with optical
intermittents, and rear screen projec-
tion.

The projection screens committee
is assembling data concerning the
optical and acoustical characteristics
of screens, and from these data will
make recommendations to the stand-
ards committee of the society on a
standard of screen intensity.

Curtis After Hole in One

Returns to Rochester Home

Edward P. (Ted) Curtis, sales man-
ager of the motion picture division of
the Eastman Kodak Company, left
Hollywood for Rochester April 27.
Mr. Curtis has been in Hollywood
since January 14, and during his
stav has bought a home in Beverly
Hills. It is his intention to live on
the west coast at least four months
in each year.

Whether Mr. Curtis' return to
Rochester was hastened in any man-
ner by an adventure experienced bv
him on April 18 is not definitely
known by his friends.

On the dav mentioned Mr. Curtis

from the tee of the fourth hole at the
Riviera Club smacked a ball on Lo
the green for a hole in one. The dis-
tance is 225 yards and the green is
so fortified in front by traps it was
necessary to plant the ball on the
green to accomplish the feat.

It is the golfer's first hole in one,
and an achievement not only to write
home about but one really justifying
a personal delivery of the message.

Local 683 Will Fight for

Loving Cnp on Golf Links

OF INTEREST to all film tech-
nicians members of Local 683,
I.A.T.S.E., will be the golf tourna-
ment to be held by that organization
at Sunset Fields, Course No. 2, Mav
24.

The arrangements committee is
T. C. Bryan, Harry Low, Charles
Dexter, James Bray, Robert Shaw,
Harold Palmer, Julius Cindrich and
Norman Carlin.

A handsome loving cup and other
prizes will be awarded to the winners.

Business Representative Karl
Kountz will answer all inquiries at
the organization's office, 1605 North
Cahuenga Avenue, Room 14.

Len Powers Directs Monks

in First "Coo-Coo Capers'1''

LEN POWERS of the Interna-
tional Photographers has di-
rected "His Gal," first of the
Coo-Coo Capers Series. The entire
cast is composed of monkeys. To be
sure these do lean on humans for the
dialogue, which was written by Al
Martin. Courtis Mick and Ernie
Kline wrote the story. Hap Depew
photographed the picture, Dean Daily
assisting.

The subject was previewed at the
Belmont early in April and made a
good impression. Especially respon-
sive to the dialogue and the gymnas-
tics were the youngsters; they were
far more interested in what the simi-
ans did than in what they presumably
were saying.

Cameramen Agree Blimps

Are Objectionable On Set

SIXTY first cameramen, represent-
ing all Hollywood studios, replied
to the questionnaire on camera
silencing sent out by the Academy in
March. Of the replies 91 per cent
advocate strong efforts toward the
development of cameras which will
not require blimps or covers.

The weight of the blimps in use was
condemned by 90 per cent of the re-
plies, and the bulk by 87 per cent.
Over half said the blimps made focus-
ing difficult and 73 per cent said they
crowded the sets uncomfortably on
close-ups. Practically every tyne of
camera cover in use in Hollywood was
criticised for one or more of these
reasons.

At the meeting of the producers-
technicians committee April 16 it was
resolved to bring this situation to the
attention of the camera manufactur-
ers and inquire what efforts are being-
made toward the production of a
silent camera. The committee will
offer to have studio experts confer
with the manufacturers.

The committee expressed its appre-
ciation of the cooperation of the
cameramen.

The questionnaire also inquired the
effects of directional microphone de-
vices (concentrators, ribbon micro-
phones, etc.), and also of "noiseless
recording" systems. The replies, how-
ever, revealed that too few camera-
men have worked with any of these
devices to permit generalization as to
their effects.

Several leading cameramen ex-
pressed the opinion that the develop-
ment of adequate concentrators would
reduce the importance of silencing the
camera.

Peggy, the chorus girl, says she
joined the movies because on her last
job as an artist's model she made
only a bare living.

Kling Does It Again

Clifton L. Kling has gone and done
it again. The still which served as
copy for the front cover of the
March International Photographer
has been selected by Screenland for
May as "the most beautiful still of
the month." The picture was taken
for M-G-M's "Shipmates." This
award to Mr. Kling makes the eighth
he has received from Screenland in
an even two years.

ELMER G. DYER

Photographer of Aerial Shots On

DIRIGIBLE

HE8116

A Columbia Production

HE1128

Maij, 19.il

The INTERNATIONAL PHOTOGRAPHER

Nineteen

era

/RA HOKE

Alas, Poor Yorick

Where is the tragedian of yester-
year whose life ambition was to play
a role from the pen of the Immortal
Bard? Certainly he is not to be
found on Hollywood Boulevard, as is
witnessed by this scrap of conversa-
tion overheard on that famous
thoroughfare.

"Would you like to play Hamlet?"
queried the Variety reporter.

"Not unless he'd give me a stroke
a hole," countered the veteran actor.

Fiend for Exercise

Strolling down Cahuenga Avenue —
Letter carrier coming out of tennis
shop proudly examining a new tennis
racquet.

Meow

The cameraman had been annoyed
all day by a chorus girl who persisted
in asking questions about every con-
ceivable part of the equipment. At
length in desperation the cameraman
blurted out:

"Miss, don't you know that curios-
ity once killed a cat?"

"Is that so?" asked the chorine,
"What did the cat want to know?"

Keewee

Cameraman — You sure had me
scared the way you were flying that
ship around — that's the first time I
ever flew.

Aviator — I know just how you feel,
sir; that's the first time I ever flew
one.

Wasted Effort

The movie company was making a
sea story on the old Norwall in the
Catalina channel. During the lunch
hour an unusually high sea washed
the efficiency man overboard. He
was rescued by a wide-awake prop-
ertyman.

"What can I do to reward you, my
friend?" said the efficiency expert
coughing up a goodly amount of chan-
nel water.

"The best way," answered the
propertyman, "is to say nothing about
it. If the rest of the company knew
I pulled you out they'd chuck me in."

Oh, Gosh! Oh, Gee!

Lab man — I get a kick every time
I kiss Betty, the cutter girl.

Cameraman (absently)'— She doesn't
object to me.

Silent Production

Second Cameraman — My wife
doesn't speak to me for days.

First Cameraman — What's the idea ?

Second Cameraman — I'll sell it to
you for fifty dollars.

Traveling Salesman

A clergyman was sitting at the
same restaurant table with a stranger.

He spread a plentiful layer of sauce
over the steak, then passed the bot-
tle to the stranger, who tried it spar-
ingly and gasped:

"I suppose you preach Hell-fire and
damnation ?"

"Why, of course," answered the
clergyman.

"Well," replied the other, "you're
the first parson I've found who took
his samples with him."

Dawn in Hollywood

A well lit actor banged lustily on
the last door down the hall.

"Shay, is this Billy Bing's apart-
ment?"

"Yes, what do you want?"

"Well, will you pleash come down
and pick out Billy so the rest of us
can go home?"

Seventeen's a Crowd

A Beverly Hills society woman
wrote to a movie director: "Mrs. J.
Bentley Manners requests the pleas-
ure of Mr. Donleigh's company at
dinner on April 10th."

The following day she received this
note of acceptance: "With the excep-
tion of the mixer and the chief elec-
trician, who have to double on another
unit, Mr. Donleigh's company accepts
with pleasure Mrs. Bentley Manners'
invitation for April 10th."

Secret Formula

A certain Scotch cameraman who is

addicted to amateur photography re-
cently went to the Braun Corpora-
tion to get an empty bottle. Selecting
one that suited his purpose, he asked
the price.

"If you just want the bottle we
charge 25 cents," said the clerk, "but
if you want something in it we don't
charge for the bottle."

"That's fair enough," said the cam-
eraman, "put in a cork."

Light Housekeeping

"George, George," screamed tin
sweet young wife, "baby has swal-
lowed all the matches. Oh, George,
what shall I do?"

"Here, try my cigarette lighter."
answered the nonchalant George.

Appropriate

Why did Smith name his babv
"Bill"?

Because he arrived on the first of
the month.

No Fooling

Second — Yep, times have changed.

Assistant — Zat so?

First — You bet. It used to be that
when a man was run down he took a
tonic. Now he takes an ambulance.

Historical Note

Swimming did not become a nation-
al pastime in Scotland until the in-
vention of toll bridges.

This Super Sensible Film Thing
Has Ihari Kardi Utterly Desolated

Hon. Howard Hurd & Brother, Business Representative Location 659.
Dear Mr. & Sir:

As I am Japanese assistant cameraman and a green ticket member
of Location 659, I bow in my middle to you in greeting.

I have much reading on the subject of Super Sensible film being-
made by Hon. DuPont and Hon. Eastman. After absorbing into my
knowledge many gammas, balances, longitudes and SPEED, I am writ-
ing in letter to you this question for a puzzle.

Directions for loading this super film are as follows:

1. "Load in complete darkness."

Now, Hon. Mr. Hurd, I desire to impart to my memory how dark
is "complete." Because this new film is so very sensible to the least light
I have entertainments of fear and misgiving about opening tin cans in
ordinary dark room. Is it necessary to render the darkness in my dark
room a very dark black darkness before opening cans? If so, how can
it be?

Hon. Sir, I would depreciate a careful answer as I realize loading
must be done in sufficient darkness that a double exposure of my face
does not appear on this very rapid film along with artistic interruptions
placed thereon by my Hon. 1st cameraman. Otherwise my face will be
double-exposed upon the out-of-working list also.

Hoping you are same,

Fraternally yours,

IKARI KARDI.

Twenty

The INTERNATIONAL PHOTOGRAPHER

May, 1931

J«**fc' ^"pODAYin

Andalus-

ian Spain

there still re-

< mains a sleep-

^prAjf ing city un-

3 ^r spoiled by the

™ onrush of a

Esselle Parichy commercial
J world, where
no gigantic Neon lights blaze bril-
liant benedictions on her mediaeval,
evening skies. This city is Granada,
the traditions of which are mellow
with age, and old customs survive
and gem with vivid reflections from
the highly polished civilization of
the Moor, who left his imprint
down the Steps of Time.

The high serpentining Sierra
Nevadas in their perpetual mantle

With His Q
Parichy n

By esji

Upper row, reading from lei

right :
The Gate of Justice . . . the t

portal of the Alhambra.
The Court of Lions in the Alhau
at Granada, where gory seen
foul butchery and flam
swo?~d were enacted.
The Court of Canal— with'
closely cropped hedge mir,*
in the canal below.
Center row :

One of the picturesque yuan
the Alhambra at Granada.

May, 1931

The INTERNATIONAL PHOTOGRAPHER

Twenty-one

and Pen
Hd Granada

jCHY

vrish window in one of the
ts of the Alhambra.
I row :

'f the winding trails in the
ktainside descending the Al-
;mbra Hill.

Uhambra at Granada, the
ited magnificence and grim
rbidding walls of which com-
ind the city below,
untain at the Gate of Justice
e Alhambra at Granada, de-
ding the three rivers of
\anada.

of white form the backdrop of
Granada's stage. Off in the dis-
tance is Boabdil's "Hill of Tears,"
and below the airy heights shrouded
in purple, red and green draperies
nestles this quaint City of the
Pomegranate with its fountains
and orange-bordered paths.

The undulating hills form a
huge amphitheater dotted with the
whitewashed walls and red tile
roofs of humble abodes; down
through green fringed cavities
murmuring waters tumble to cool
the aromatic fragrance of small
patios, where solemn eyed inhabi-
tants dream through chiffon shad-
ows of a lazy topaz sun, while love-
ly days and the breathless beauty
(Continued on Page 32)

r*.

~ ' .

••

- ---— ■ y " »

t */

m I J

Twenty-two

The INTERNATIONAL PHOTOGRAPHER

May, 1931

' In on Just a Few New Ones

LADIES' MAN

Victor Milner, Cameraman

PARAMOUNT production chiefs
are to be congratulated on the
possession of sufficient sand to al-
low a story to run its logical course,
even to an "unhappy ending," as the
strange expression goes. This, being-
interpreted for
the benefit of
those untouched
by amusement
traditions, means
a tragedy, and in
this instance the
death of the chief
character in the
story. It is truly
a surprise finish,
partly perhaps
because the more
or less seasoned
picturegoer has

been trained to Victor Milner
expect anything before the death of
the first character in a story.

"Ladies' Man" is a good picture,
especially on the side of the dialogue,
which is of the ultra-smart type.
There is every reason it should be so,
seeing that the production was
adapted from Rupert Hughes' novel
of the same name. Herman J. Man-
kiewicz is responsible for the screen
play.

Under the direction of Lothar
Mendes the story from the drop of
the hat takes on a touch of distinction,
like unto that of a cleverly conceived
and executed stage play about people
of means and education and especial-
ly of keen wits.

One of the toughest handicaps to
be overcome by the finished product
is its title, redolent of some sweet-
scented exotic not exactly filled with
appeal for the average male person.
The completed product is quite to the
contrary, and in this respect a pleas-
ant surprise. The average male is
likely to find William Powell's charac-
terization such that strange as it may
seem in many respects it might qual-
ify as that of a "regular guy," one
whose death under such circumstances
would be regrettable.

The picture is notable for several
particularly strong individual inter-
pretations. Olive Tell as the matron
with a busy husband and who falls in
love with the ladies' man and who
gives him her jewelry along with her
affection has a part that ranks at the
top in interest and dramatic impor-
tance.

Carole Lombard as the daughter of
this matron, also so madly in love with
the hero that like her mother she is
ready to kill him rather than see him
fall into the arms of another woman,
mingles a bit of comedy in her char-
acterization that proves strongly
dramatic at times. She plays a per-
fect souse, of the crying and fighting
kind, one that will stand out.

Kay Francis as the woman selected
by the hero when it comes to marry-

By GEORGE BLAISDELL

ing has little to do in the first half of
the picture but has abundant oppor-
tunity as the tale nears its end. Hers
is a fine performance, as with such a
role it is bound to be.

Gilbert Emery has the part of the
business man too much absorbed in
moneymaking to dance attendance
upon his wife's social engagements,
the man who at the end when he
learns his wife and his daughter each
intends to kill Darricott decides to
take that duty upon himself and spare
them the task. It is a thrilling finish,
with the drop of the victim over the
balcony to the pavement.

The production is given the advan-
tage of noiseless recording. As the
staffs progress in experience with this
new device the contrast between pic-
tures of the present and the recent
past is most striking.

Much care and expense have been
lavished on the making of the picture,
which will qualify as high class in all
departments.

KICK IN

Victor Milner, Cameraman

THERE are thrilling moments in
Paramount's "Kick In," star-
ring Clara Bow. It just hap-
pens that Bartlett Cormack so adapt-
ed the play by Willard Mack that the
burden of the work falls not on the
billed chief player but on Regis Too-
mey mainly and Wynne Gibson in a
lesser degree.

Toomey carries the burden easily
and to the entire satisfaction of those
who admire thoughtful acting. Miss
Gibson's Myrtle, wife of a wounded
and dying burglar, is a pathetic fig-
ure, one commanding deep sympathy.
James Murray is the husband.

Donald Crisp is the irritated head
of the police board, caught between
the rage of the district attorney when
the family jewels are stolen and the
sneers of the public. Paul Hurst is
an unscrupulous detective who gets
a smack behind the ear with the flat
of a pistol in the hand of the heroine
when he double crosses that young
woman and her husband.

Juliette Compton contributes an
entertaining bit in the role of a suc-
cessful underworld character who
maintains her poise in the face of a
severe police grilling. Leslie Fenton
has a tough part as a dope fiend
brother of the heroine.

It is a good cast Director Richard
Wallace has selected to fortify Miss
Bow, who is not called upon to dis-
play any large dramatic effort. The
role is a serious one, to be sure, a
departure from the frivolous kind
that have gone before. It is likely
a forerunner of a different note in
the Bow pictures — an intimation that
hereafter she will be seen in pictures
carrying real entertainment with a
background of drama that will be in-

trusted to players especially quali-
fied to transfer it properly to the
screen.

FATHER'S SON

Art Miller, Cameraman

NOT to be outdone by Paramount
with its boyhood stories of "Tom
Sawyer" and "Skippy" First
National steps into the ring with
"Father's Son." The Burbank pro-
duction staff has done a commendable
piece of work. In
the first place it
has rested its case
upon a rarely
simple story; and
it has not cheap-
ened it by slip-
ping into the trap
made ready to
hand by the story
— of building a
romance between
the doctor friend
?f the boy and his
mother separated
from the father. Art Miller

The sequence or series of sequences
remained untainted, as wholesome as
any one might wish. The friendship
between the doctor, finely played by
John Halliday, and the boy continued,
one of the finest phases of the tale.

Leon Janney is Bill, the hero of this
everyday story of a boy who in spite
of his multiplied seeming misbehavior
somehow always follows the lines you
personally would select were you for
the moment his guide and mentor.

Lewis Stone is the father, an every-
day sort of father, too. There is noth-
ing exaggerated about the characteri-
zation. Ask any boy his opinion of
the father he sees on the screen and
its better than an even wager he will
offer to swap with Bill. In fact,
Stone's characterization is another one
of the factors of the story that give
it added value. The subject has un-
questioned strength without resort to
any kind of exaggeration or of what
may be described as harsh discipline.

The third member of this family
circle is Irene Rich — and how with-
out apparent effort does she fit into
her appointed place ! That place is
the feminine head of what in many
respects is an ideal American family
— in the bearing of its members one
to the other, in the niceties as well as
the plainer duties of home life.

Because that harmony is not quite
100 percent is the reason for the
story. The inharmonious element as
we see it is the inability of the father
quite to catch the spirit of boyhood.
In his lonely life following the reluc-
tant but determined separation of the
mother with the son he gropes, in-
effectively at first, for the path that
will lead him to a family not only
reunited but tranquil.

The drama that rides on these
scenes more sombre in tone is of suf-

May, 1931

The INTERNATIONAL PHOTOGRAPHER

Twenty-three

ficient power to constitute this story
of Tarkington's one of the best the
screen has known not for sons pri-
marily but rather for fathers. In
fact, it well might have been titled
"Son's Father."

William Beaudine directed the pro-
duction from the adaptation, continu-
ity and added dialogue of Hope Lor-
ing — a most creditable achievement
on the part of both.

GUN SMOKE
Archie J. Stout, Cameraman

HOW the man of the range would
combat the gang killer of the
East is rather convincingly
outlined by Grover Jones and William
McNutt in Paramount's "Gun Smoke,"
directed by Edward Sloman. It is not
exactly clear how l
this mountain
railroad town is
unable to get
word through to
the outside when
its inhabitants are \ m

held under the
lash of gunmen
from the eastern A
part of the coun-
try, but if we
overlook that
point the remain-
der of the story
is not hard to Archie J. Stout
take. On the contrary it is distinct-
ly interesting.

Richard Arlen is featured as the
head of the crew of wild horse hunters
who comes to grips with Kedge Dar-
vis, leader of the killers, played by
William Boyd. The object of the dif-
ference is the attention of Sue Van-
cey, a rather colorless part rather
colorlessly played by Mary Brian.

The quartet that constitutes the
show is composed of Arlen and Boyd
for one-half and Eugene Pallette and
Louise Fazenda for the other. The
latter pair is a rare team, either sing-
ly or doubly measurably qualifying
under the abused "inimitable."

Others substantially lift the story
on its characterization side. There
are Charles Winninger as Tack and
Willie Fung as John the Chinese cook
and William V. Mong as Strike Jack-
son.

The opening of the story is a side-
walk murder committed by a quartet
of automobile killers, who following
the commission of the crime take the
train for the west to "cool off." Re-
sponse to a booster ad has opened the
gates of Bunston for them — wide.
They are "big men."

The jam starts following the dis-
covery of gold by Strike, when the
easterners send home for more men
and sew up the town while they get
away with the gold. When the re-
turned wild horse hunters hear of the
situation things start moving.

Dependence is placed not alone upon
markmanship. There are accessory
aids such as rolling holders into the
ranks of the frightened refugee plun-
derers or by diverting the course of a
group of panicky wild horses into the

same trail as that occupied by Darvis
and his followers.

There may be plenty of dialogue
in the story, but also there is an
abundance of action. In fact, in spite
of the dialogue, it is a motion picture
of the old regime, and a real western
at that. It ought to be, seeing that
one of the writers of the tale, Grover
Jones, for many years found this brand
of stories proving to be the chief
source of his ham and eggs.

Those who are surfeited with con-
versazioni, or gabfests if you will, be-
hind three walls will find welcome re-
lief in a breath of mountain air where
tremulously and maybe badly broad-
ened As are burned with the prairie
chips.

Lee Garmes

CITY STREETS

Lee Garmes, Cameraman

BOX office sticks out all over Para-
mount's "City Streets." Whether
you like the underworld rough
stuff or not there is here stark melo-
drama that will stir your blood. You
may enter upon the picture in an in-
different mood, in
a hostile one,
even. You may
have in your own
way and after
your own dumb
fashion sort of
sized up the new
femme featured
lead and decided
you still remained
to be shown.

It is just about
at this point the
illusion takes
command of the
brain cells. When following the con-
clusion of the smashing penultimate
sequence you gradually get yourself
together you realize your first impres-
sion reflected no credit on your selec-
tive or judicial capacity.

You have reached the conclusion
that Paramount may have in its mitt
a picture worth so near seven figures
that what it falls short of that sum
will be negligible.

Gary Cooper comes out of the realm
of the western or outdoor picture to
step into a tale based on the beer
racket, a general screen background
not calculated to call for three ap-
proving cheers on the part of the
average adult citizen.

But behind the gripping story pro-
vided by Dashiell Hammett, adapted
by Max Marcin, put into continuity
by Oliver H. P. Garrett, and directed
by Rouben Mamoulian, there rides
such an abundance of elemental ap-
peal any thought of breaking new
ground is forgotten. Then again as a
sort of preparatory course as it were
players in western subjects acquire
an acquaintance with firearms.

Possibly the major interest in the
production on the part of the average
picturegoer is the impression regis-
tered by Sylvia Sidney, an impression
handicapped at the start by the seem-
ingly flossy and stagey alliteration of
the new name.

There can be no question the new-

comer plays her part — a hard one,
that of a woman surrounded by
racketeers and subject to their mur-
derous orders. So well does she play
it there is a not unnatural interest
as to how convincing the young wom-
an also might be in a more softly
feminine role.

Paul Lukas is cast as a Capone.
With him as associates are William
Boyd, Guy Kibbee and Stanley Fields.
Wynne Gibson as Agnes, the favorite
of the gang leader discarded for a new
face, is given plenty to do — and well
does it.

The high spots of a fast-moving
picture are the closing scenes, those
in which the chief character "takes
for a ride" three leading racketeers.
Reversing the usual procedure, as the
layman visualizes it, the three occupy
the rear seat in a machine, but their
ready weapons are useless. If they
are brought into play the five persons
in the car will be destroyed as the
machine leaves the road. It is a hair-
raising sequence, dodging railroad
trains and negotiating beetling switch-
backs.

"City Streets" is tall melodrama.

Ernest Palme t

A CONNECTICUT YANKEE

Ernest Palmer, Cameraman

WHETHER or not "A Connec-
ticut Yankee" owes more of

its paternity to Will Rogers
than to Mark Twain has nothing to
do with the issue of whether or not
it turned out to be a good picture.
And there is like-
ly to be general
agreement that it
did. One of the
outstanding se-
quences in the
production is
lifted by a Rogers
touch, that of the
tournament, a
spectacle as well
as a drama with
a* comedy angle.
After Hank the
Sir Boss is lifted
armor and all on
to his horse he uncovers a lariat with
which he proposes to combat the
knight Sagramor, a well played char-
acterization credited to Mitchell Har-
ris. The screened result may not be
so funny in London, but it surely was
a scream in Los Angeles. The knight
with his "pig-sticking" lance had not
a chance.

The entertainment quality of the
picture is heavily fortified by the con-
spicuous presence of William Farnum
in the part of King Arthur. This
worthy representative of the best on
the speaking stage provided a most
companionable foil for the rough and
ready interpreter of the small town
radio announcer, the one heeding all
the traditions of the polished actor
and the other letting the chips fall
where they might. It is a team hard
to match.

Many of the scenes take on the pro-
portions of a spectacle. Among these
are the tournament already referred
to, the mobilization and advance of

(Continued on Page 30)

Twenty-four

The INTERNATIONAL PHOTOGRAPHER

May, 1931

In zJXCernoriatn

Nealson Smith passed away April
10 at his home in Los Angeles. He
was 42 years old. Mr. Smith was one
of the best known still cameramen in
the Hollywood studios, having been
equally skilled in work on portraits
or on the set. For many years he
was employed by Hartsook in his Los
Angeles studio. He photographed
practically all stills of the late
Rudolph Valentino and many of
Norma Talmadge. Mr. Smith was a
veteran of the late war.

Department of Agriculture

Recording Films in Capital

PRODUCTION of sound pictures
has been initiated by the United
States Department of Agricul-
ture in its own studio in Washing-ton.
A complete RCA Photophone sound-
on-film recording system was recently
installed by the department's office of
motion pictures and the work of scor-
ing lecture pictures is going forward.
The recorder has been installed to
run synchronously with projectors
equipped for the projection of sound-
on-film, so that it can be utilized for
scoring existing silent pictures with
sound effects or lectures.

One of the films scheduled for con-
version is the Indian sign language
film the office of motion pictures is
making for the Department of the
Interior. Major General Hugh L.
Scott, retired, will deliver the lecture
that is to accompany this film, which
is designed to constitute a permanent
record of the Indian sign language.

Lasher with QRSDe Vry

The QRS-De Vry Corporation has
appointed Phil Lasher, Ltd., as ex-
clusive western distributor, with of-
fices at 300 Seventh street, San Fran-
cisco. The company will specialize in

motion picture equipment and photo-
graphic supplies, dealing in both 16
mm and 35mm equipment, silent and
sound with a special department on
visual education.

Phil Meisenzahl, who has repre-
sented the parent company for the
past twelve years, will join the Phil
Lasher company May 1. Mr. Meisen-
zahl will have charge of the southern
district.

Arnold Heads Cinematographers

At the annual election of officers of
the American Society of Cinematog-
raphers, Inc., Hollywood, the follow-
ing were chosen for the coming year:
President, John Arnold; first vice
president, Victor Milner; second vice
president, John W. Boyle; third vice
president, Al Gilks; secretary, Wil-
liam Stull; treasurer, George Schnei-
derman.

The annual installation banquet
was held Monday evening, April 20.

Kruse Musician, Too

J. Henry Kruse, a musically inclined
member of 659, has organized the
Melodie Club Orchestra. Mr. Kruse
specializes with a violin. Recently he
arranged the music for the Swedish
sequence for Fox's "Women of All
Nations."

Photophone to Install Three

Rear Projection Equipments

SPECIALLY designed RCA Photo-
phone sound reproducing equip-
ment modified to meet the re-
quirements of rear projection will be
installed in the first three of the ex-
tensive circuit of theatres to be es-
tablished in the principal cities of the
United States by the Trans-Lux
Movies Corporation.

Two of these theatres are to be
opened in the Lefcourt building, 1619
Broadway, and the third in 625 Mad-
ison avenue, New York.

Rear projection will be employed in
all theatres operated by Trans-Lux,
Photophone installations being the
first in New York City since sound
motion pictures were introduced.

Tested in a model theatre installed
at the Photophone engineering de-
partment in East Twenty-fourth
street and employing the new loud
speaker and directional baffle, the dif-
fusion of sound by this system was
said to have been of exceptional qual-
ity and equally diffused throughout
the small auditorium.

A number of changes in the Photo-
phone standard small theatre sound
equipment were made necessary to
meet the demands for rear projec-
tion.

eS^Hc.

<A?

'bant**

@ream oth Stills

c^L'O^.

Below the dam at Arrowhead Lake, a matter of eighty miles from Los Angeles and incidentally of a mile
in the air, Harry Parsons shows its a picture already framed by Old Mother Nature herself

^'°*

<A<

*°CR/tf*

Gream oth Stills

*.**^?o*

1°GRtf*

C/p in Yosemite
National Park
Joe Harris makes
this striking record
of the Full Dome
and the Half Dome

. .•

On the mesa and

in the valley near

Lake Elsinore of a

sunny February day

H. Blanc with his

keen photographic

eye set up his

camera to get this

bit of charming

background

// you don't think

the man who wields

the gavel over the

eight hundred

motion picture

photographers of

the west coast also

slings a mean lens

just analyze this

sweeping view of

Mount Assiniboine

recorded by

Alvin Wyckoff

■

Bert Lynch points
his camera west
from Maze flan,
where on the line of
the Tropic of Cancer
the waters from the
Gulf of California
sweep into the broad
Pacific.

Clarence H. Gutermuth of Fort Wayne, hid., a member of the Chicago local, sends to his California brothers

and through them to the world at large this bit of Indiana in winter, proving hoiv easy it is for poets in that

country to rave when the grass and the leaves again burst forth

Maij, 19 SI

The INTERNATIONAL PHOTOGRAPHER

Twenty-five

vfz[rnateur jyepartmenti

Make- Up Hints for Amateur Actor

Showing" How Characterization May Be Aided

Most Effectively by Simplified Use of

Inexpensive Equipment

By KENNETH F. SPACE

Illustrations Posed by Writer
Photographed by Grayce Stannard

THE amateur movie maker who
takes his hobby seriously wel-
comes the opportunity to obtain
something- besides the usual family,
children, and travel films. As soon as
story filming is considered the ques-
tion of make-up is brought to mind.

The average moviemaker's knowl-
edge of make-up usually has been ob-
tained from pictures and articles in
motion picture magazines, and he has
the idea that make-up is a tedious,
greasy and unpleasant affair.

While this may be true of the pro-
fessional movies the amateur need not
go to such pains in this regard, since
his films will not be subject to the
enormous magnification in screening
that is necessary in the theater.

In taking up the question of make-
up just a word will be sufficient with
regard to "straight" make-up. A
person with normal skin need only to
apply cold cream to the entire face,
rub off the surplus with a soft cloth
and dust over the cream with a light
(not white) or brunette flesh powder
to eliminate the shine.

This will prove satisfactory in al-
most every case. Never use rouge, as
it photographs black. If it be desired
to accent the lips or eyebrows out-
line them very lightly with a brown
dermatograph pencil. Do not forget
to make up all exposed skin such as
neck, arms and hands, which may ap-
pear, in the same manner as the face.

If the amateur wishes to go into
straight make-up more deeply a small
booklet on the subject is obtainable.
It is titled "How to Make-up" and was
written by Alice Fleming. A copy
may be obtained for a nominal sum at
Willoughby's, New York City.
Simplifying For Amateurs

However, sooner or later the ama-
teur will desired to have some friend
portray an unusual or "character"
part and here is the point where diffi-
culty begins. To make up for a char-
acter part on the professional screen
oftentimes requires as long as two
hours. This would naturally be ob-
jectionable to the amateur and he
therefore avoids such parts. It is
possible, however, to cut this time to
a minimum and to assist in this sim-

plification is the purpose of this ar-
ticle.

First, the clothes: Few people real-
ize how changed a person's appear-
ance may become by the proper selec-
tion of clothing. Be sure that your
character is provided with all of the
accessories to fit his characterization.
Next, be sure that the person taking
the character part puts himself com-
pletely in the character's place that
he is seeking to portray. The most
complicated make-up will not ring
true unless this inward feeling is ob-
tained.

Now for the facial make-up. In
portraying an unusual character it is
usually best not to apply the powder
as in the straight make-up, since
wrinkles or skin blemishes quite often
improve the characterization, a tramp
for example.

The only material used in the make-
ups illustrated herewith were a black
and a brown dermatograph pencil, a
fifteen-cent braid of gray crepe hair,
a few wads of cotton and a small
bottle of spirit gum obtainable at al-
most any drug store.

The illustrated make-ups were ap-
plied in less than five minutes time in-
volved in each case. Perhaps the
simplest method of explanation would
be to consider each make-up indi-
vidually.

For Barker Type

Illustration No. 1 — Sport or carni-
val barker type. This is almost a
straight make-up, the effect being-
gained mostly through expression and
accessories such as turned-down col-
lar, flashy stickpin, large finger ring
and cane. Eyebrows and mustache
are accented with black pencil.

No. 2 — English or cynic type. Here
the expression and the addition of a
monocle made from one half of an old
pair of horn-rimmed glasses carry
out our ideas. Eyebrows and mus-
tache accented; no other make-up.

No. 3 — Hero type. Here again just
accent eyebrows nad mustache.

No. 4 — Soldier type. In this case
a few smudges of the dermatograph
pencil, an old trench helmet, trench
coat and a water pistol complete our
array.

No. 5 — Spanish type. In this case
after the eyebrows and mustache had
been darkened, sideburns were drawn
with the brown dermatograph pencil
and the upper eye lids were shaded
with the same pencil, the shading be-
ing applied by drawing fine lines on
the upper lid and blending them into
a solid color with the finger tip.

No. 6 — Sissy or comedy type. Here
the hair is parted in the middle, the
eyebrows accented and the mustache
accented only in the middle. Heavy
horn-rimmed glasses complete this en-
semble.

No. 7 — Hebrew comedy type. After
accenting the eyebrows, an unshaven
appearance was obtained by the ap-
plication of the black pencil lightly
where the hair would normally grow.
This was then softened by blending
with the fingertips into the smooth
part of the face.

For the Mug Type

No. 8 — Prizefighter type. After
adding the "mouse" or discoloration
under the eye with the brown pencil
the problem of obtaining the conven-
tional broken or flattened nose was
solved by stuffing the nostrils with
cotton. Small wads of cotton also
were placed inside the mouth, between
the teeth and lips, to give a puffy ap-
pearance, and a small dab of the
black pencil on the lower lip com-
pleted the battered appearance.

No. 9 — Elderly type. This is quite
often the most difficult part to por-
tray. In making up for this part the
brown pencil is applied around the
eyes and on the cheeks just below the
cheek bones to give a hollow or sunken
appearance. Then the two natural
wrinkles about the mouth were ac-
cented. Then crepe hair was applied
to the eyebrows and to form the mus-
tache and beard. In applying the
crepe hair unravel about six inches
and comb it, fluffing it out until quite
a large "bunch" is obtained, then ap-
ply spirit gum to the portion of the
face to be covered by the hair. As
soon as the spirit gum is applied take
a large wad of the hair and press it
tightly upon the spirit gum. After
the gum has hardened sufficiently the
beard and eyebrows may be lightly
combed and then trimmed to the de-
sired shape with scissors.

Note — This characterization also
illustrated the point brought out
earlier, that of making up the hands
as well as the face. The hands in this
case should have been lined softly
with the brown pencil to give a
wrinkled appearance in keeping with
the portrayal.

No. 10 — Normal. Ready to apply
the make-up, showing the dermato-

Twenty-six

The INTERNATIONAL PHOTOGRAPHER

May, 1931

graph pencil in the hand as compared
to the make-up box usually thought
necessary for this type of work.

No. 11 — Elderly type. In this make-
up the natural wrinkles in the fore-
head were accented lightly and crepe
hair was added to the sideburns in
addition to the eyebrows, mustache
and beard. By adding a pair of black
glasses to this characterization we
have a good blind man type.

No. 12 — Poisoner or maniac type.
Here we attempt to portray a fiendish
type. All wrinkles are accented, the
hair is tousled, and the crepe hair,
eyebrows, mustache and beard are ap-
plied as before but are left ragged in-
stead of being trimmed with the
scissors.

When Doing a Du Maurier

No. 13 — Hypnotist type. Our ob-
ject here is to accent the eyes. We
do this by accenting the eyebrows and
then darkening the entire upper lid

with the brown pencil and then draw-
ing a dark line all the way across the
upper edge of the lower lids with the
black pencil. The mustache and beard
in this case were simply drawn with
the brown dermatograph pencil and
then blended slightly so as not to
make the edges too abrupt. The tur-
ban was formed by wrapping a turk-
ish towel around the head, the towel
being- covered by a scarf.

Nos. 14 and 15 — Hunchback or im-
becile. In this portrayal the eyes and
cheeks were heavily lined with the
black pencil. Wrinkles were accented,
hair, eyebrows and beard were formed
of crepe hair but were left ragged.
The hunchback effect was obtained by
stuffing a small pillow underneath the
coat and over one of the shoulders.
Another purpose of these two illustra-
tions is to show that no matter how
repulsive the make-up may seek to
portray the character the effect will

be lost if the expression is not in keep-
ing with the make-up.

No. 16 — Pirate type. The eyebrows,
upper lids and mustache were dark-
ened and the beard applied with the
black pencil. A scarf for the head,
large earrings and the "family carv-
ing knife" complete this make-up. The
tattoos were drawn with the black
pencil.

No. 17 — Satan. This make-up is
oftentimes used to represent Tempta-
tion or Evil, even though we seldom
would produce a picture starring the
gentleman in question. The eyebrows
were darkened, arched and extended
beyond their normal limits. The mus-
tache was darkened and curved, and
the beard applied with the black pen-
cil. An artificial hair line was also
drawn coming down to a peak in the
forehead and the space between this
line and the normal hair was filled in
and blended with the black pencil.

No. 18 — Tough or tramp type. The
eyelids and cheeks were darkened
slightly and the beard and face gen-
erally were smudged with the brown
pencil to give an unkept and dirty
appearance.

No. 19 — Chinese type. The cheeks
were "hollowed" slightly by the ap-
plication of the brown pencil and arti-
ficial slanting eyebroks were drawn
with the black pencil. The black pen-
cil was also used to draw the mus-
tache and to draw an up-slanting line
about an inch in length extending
from the outside corners of the eyes.
The nose was flattened slightly by
stuffing it with cotton and the mouth
made puffy by introducing a small
strip of cotton underneath the inside
of each lip.

Using Nose Putty

If it be desired to change the shape
of the features to a great extent nose
putty must be used. This comes in
small sticks and when mouded in the
hands it becomes soft and pliable. It
is then shaped into the desired form
and is fastened to the nose or place
desired with spirit gum. In using
nose putty, however, it is necessary to
apply a "base" or foundation make-
up color to the nose and face so that
the addition will not be noticeable,
and since this would bring us into a
discussion of more complicated make-
up we will not g-o into it more fully.

A simple method of making a hair
lip is as follows : Obtain a small piece
of dark brown thread and knot one
end of it. Draw this thread between
two of the upper teeth until the knot
is held against the back of the teeth.
Now by drawing the thread upward
with the mouth closed an indented line
will be formed. Cut off this thread
about a quarter of an inch above
where it would enter one of the
nostrils.

Now fray or spread out the loose
end of the thread as much as possible
and moisten the lower part of the
nose just inside the nostril, and draw-
ing the thread tight press the frayed
end against the spirit gum until it
adheres.

Note: In using spirit gum be sure
to have a small bottle of denatured
alcohol at hand for removing it when

May, 1931

The INTERNATIONAL PHOTOGRAPHER

Twenty-seven

When the Naked Truth

Paradoxically Is Colored

Welford Beaton in The Film Spectator

BOB SHERWOOD, in referring
to the fact that "Ingagi" was
a fake, writes: "I recognized my
old laundress among the naked
African natives." I trust that Bob
also would have been able to rec-
ognize her if he had seen her with
her clothes on.

On One World Cruise Every Fourth
Passenger Carried a Movie Camera

through with the day's "shooting."
Moisten a small piece of cotton and
gently rub the portion of the skin
covered by the gum. In a few sec-
onds the gum will be dissolved and
can be rubbed off and the face can
then be washed with soap and water.

These illustrations have purposely
been kept as simple as possible and
the amateur is earnestly cautioned
against too drastic an attempt to por-
tray a deformed character. The rec-
ord of the late Lon Chaney shows
clearly that for each of these charac-
ters he portrayed he spent many
hours of misery and suffered from the
after effects to such an extent that his
health was permanently impaired.
Don't Take Risks

This writer had one lesson in over-
zeal recently. In reading an article
on Lon Chaney he was informed that
the blindness of one eye that was the
high spot in Lon Chaney's make-up
for the picture "The Road to Man-
dalay" was obtained by covering the
eye ball with the membrane which
lines the inside of an egg shell.

The writer spent several hours in
attempting to duplicate this effect and
then spent several days with an ex-
ceedingly sore eye in consequence. He
later learned the effect had been ob-
tained in an entirely different manner.

Due to lack of space the illustra-
tions only show the head and
shoulders, but the entire costuming
should be in keeping with the charac-
ter being portrayed. In all of the il-
lustrations note that the final success
of each one depends a great deal upon
the expression. This must always be
kept in mind.

The art of make-up is something
that takes years to master, but with
these few and simple suggestions and
illustrations we believe the amateur
producer will be able to give a credit-
able account of himself in his first at-
tempt at this fascinating pastime.

For those who wish to study this
art more fully, A. B. Shore, director
of Make-up for Max Factor and Com-
pany informs me that his company
supplies a small make-up box contain-
ing the essentials for straight work
for $2 and a small make-up set for
character work at $5. These kits are
made up especially for motion picture
work.

Naturally only a limited number of
make-ups could be discussed in this
article, but the writer would be glad
to answer any questions concerning
them.

«T T is getting so nowadays that
I a tourist without a movie cam-
era is as old fashioned as a
home without a radio or a home with-
out a bath. Any world cruise will
serve as an example. Last year one
out of every four passengers on a
certain world cruise had a movie
camera of some sort."

The above is the introductory para-
graph of an interesting article in the
April Golden Book magazine on
"Making Movies, the Newest Vogue
in Travel."

In Burma even the elephants have
become movie conscious, and in Hol-
land the children have a regular tariff
worked out for posing for pictures,
according to A. K. Dawson, the au-
thor of the article.

"The man with the camera gets
more out of his trip than his fellow
travelers who are not so fortunate,"
says Mr. Dawson. "The camera is an
open sesame or an international intro-
duction. It encourages one to wander
off the main track into strange by-
ways, up those little side streets
where pictures may lurk just around
the corner.

"I recall the day that I wandered
all over the palace of a South Amer-
ican president, starting in by photo-
graphing a uniformed messenger boy
outside the main door and ending up
by photographing the president him-
self in his office.

"In Latin America the man with
a camera has a particular advantage.
The ordinary traveler will see one, or
at most two, soldiers on duty at the
entrance of the palace, but for the
moving picture camera the officer in
charge will always turn out and line
up the entire guard."

In the March Cunarder magazine,
John K. Skinner, a Chicago educator,
tells of the adventures of himself and
wife in making movies in Europe last
summer.

With regard to showing the pic-
tures, he states that every time they
are projected "we relive the experi-
ences of our summer in Europe, and
many are the places remembered that
would have been forgotten in their
strange and foreign beauty had we
not had the pictures to recall them.
At the time of purchasing our Filmo
movie outfit a year ago, the question
as to whether we could afford the
price loomed large, but now we very
much doubt if we can afford to travel
without a 'movie' camera."

The March Nomad magazine car-
ries a picture of Nelson Rockefeller,
grandson of John D., using his Filmo
at Bangkok, and three other pictures
showing 10 mm. cameras "doing their
stuff" in Hawaii and the West Indies.

It is noted that many magazines of
general circulation are according sub-
stantial recognition to amateur pic-
tures.

Shooting amateur motion pictures on the Mauretania. Courtesy Bell and Howell

Twenty-eight

The INTERNATIONAL PHOTOGRAPHER

May, 1931

Henry Prautsch Jr. Designs Emblem

HENRY PRAUTSCH, Jr., popu-
lar member of Local 659, has
just completed a unique auto-
mobile radiator ornament in the form
of an illuminated emblem of the Inter-
national Photographers.

The lamphouse and supporting
clamps are made of bronze, shaped
and fitted on miller and lathe. In
front of this lamphouse is a convex,
chromium plated brass plate through
which Prautsch has cut by hand the
entire lettering and I.A.T.S.E. insig-
nia of the cameramen. The cut-out

letters are backed by a special blue
fabric which when lit from within
throws the lettering in blue upon the
white chromium face of the emblem,
thus presenting the official colors of
the I.A.T.S.E.

Henry has spent his leisure time
every evening for the past several
weeks in the construction of this
clever ornament. It is without doubt
unequaled among the many I. A.
emblems so far displayed by camera-

Focusing Alignment Gauge Devised

for Photographers and Scientists

ADVANCED amateur cinematog-
raphers and scientific research
workers, including surgeons and
doctors, who require precision results
in their close-up motion picture work,
will be particularly interested in the

Focusing alignment gauge set to place

Filmo 70-D Camera viewfinder exactly

where lens will be when picture is

taken

focusing alignment gauge, just an-
nounced by Bell & Howell as an ac-
cessory for any Filmo 70 or 70-DA
camera, especially for the latter.

Every Filmo owner interested in
titlemaking will welcome the added
possibility for obtaining professional
results which are provided by the new
unit, which is an adaptation of a
similar Bell & Howell device used
with the professional cameras and is
only six inches long by three wide.

On the Filmo 70-DA, with which
the new accessory will be found most
useful, the spyglass viewfinder is set
to one side of the photographic aper-
ture. While the finder has been placed
as close as possible to the aperture,
still there is enough offset to hinder
accurate framing in extremely critical
close-up work.

On the other side of the 70-DA tur-
ret head is a critical focuser which
permits of hypercritical focusing on
an area in the exact center of the
total picture area. The focusing posi-
tion is necessarily even farther re-
moved from the lens photographing
position than is the viewfinder.

The focusing alignment gauge
takes care of the offset in each in-
stance. It attaches to a standard
thread small camera tripod by means
of the regular screw. The Filmo
70-DA camera then attaches to the
gauge's sliding block by a thumb

Showing (in circle) the focusing align-
ment gauge

screw. The block on which the camera
is mounted slides on a precisely
machined tool steel track resembling
a lathe bed. Three accurately placed
holes in the bed cause automatic lock-
ing in viewfinding, focusing and photo-
graphing positions. Thus the view-
finder, and later the critical focuser
may be centered and used exactly
where the lens will be when the pic-
ture is taken. One can therefore
readily imagine the boon this will be
to the title maker and to the man
who does much close-up work.

Goerz Issues Booklet on

Its Panoramic Cine-Panor

THE announcements on the pano-
ramic Cine-Panor lens which
have appeared so far in Ameri-
can photographic publications only
nevertheless have created a world-
wide interest in this achievement of
American optical science and indus-
try.

This entirely novel lens system for
the production of wide-screen motion
pictures with standard 16mm ama-
teur equipment is the invention of
Dr. Sidney Newcomer, an American
physicist and mathematician of New
York City.

The manufacturer, the C. P. Goerz
American Optical Company, has re-
ceived numerous inquiries about the
Cine-Panor from practically every
country in the world, and the lens has
been described in American, French
and German periodicals catering to
the professional as well as the ama-
teur motion picture makers.

A new booklet, interestingly writ-
ten and fully illustrated, giving full
information about the Goerz Cine-
Panor, has been just issued by the
C. P. Goerz American Optical Com-
pany, of 317 East Thirty-fourth
Street, New York. Readers who have
not yet received a copy may have
one free on request.

Demonstrations of the novel screen
effects obtainable with the Cine-Panor
can now be arranged by the dealers
and Cinema Clubs by addressing the
manufacturer.

May, 1931

The INTERNATIONAL PHOTOGRAPHER

Twenty-nine

New Negative to Improve Quality

Technicians Agree Same Number of Lighting-
Units Will Be Needed Even if There Be
Less Current Employed

BY FRED WESTERBERG

IN an endeavor to find out with
some degree of accuracy what re-
sults are being obtained with the
supersensitive motion picture film re-
cently brought out by both the East-
man and DuPont companies, a meet-
ing was held by the Technicians
Branch of the Academy of Motion
Picture Arts and Sciences at the
R. K. O. studio on the evening of
March 31 at which several reports
were read, quite a few test reels from
various studios shown and a good
deal of discussion took place.

Ted Reed introduced the chairman
of the evening, H. Keith Weeks, man-
ager of the Fox Movietone studio at
Fox Hills. Weeks struck the key-
note by saying that accurate informa-
tion on what the new film will or will
not accomplish is needed, and he
stressed the advantages to be gained
by pooling the experiences of the in-
dustry and conducting an open forum
on the subject.

Claims Not Dissimilar

Representatives of two film manu-
facturers were first called upon to
describe their product. Wesley Smith
spoke for the DuPont company and
Emory Huse for Eastman. Without
going into technical detail both de-
scribed what they believed had been
accomplished in the new film. This
was practically the same in both
cases :

(1) An overall increase in
sensitiveness of over 100 per
cent.

(2) No increase in grain
size.

(3) Increased color sen-
sitiveness over the whole
spectrum.

Both were of the opinion photo-
graphic quality would be improved
' and the cost of lighting reduced by
the use of superspeed film.

Speaking in behalf of the actors
the chairman said they were very
happy because of the reduced illumi-
nation on the set which made for
greater bodily comfort, relieved eye
strain and made it possible to keep
the make-up in better condition.

John M. Nickolaus, in charge of the
laboratory at M. G. M., was outspoken
in his contention that the new film
offered no new laboratory problems.
', He found that it was not necessary
to work in absolute darkness and that
increased latitude of the film if any-
thing made the work easier.

Amperage Values

L. E. Clarke of RKO read a report
on "The Effects on Lighting Equip-
ment and Practices." This report
was based on a questionnaire to the

electrical departments of ten leading
studios.

It was found that six out of the
ten studios were using the film on
production. Four of these six stu-
dios found they were using just as
much amperage on the set as before.
One studio showed a reduction of 30
per cent and another of 60 per cent.

It was found the number of lamp
units on the set was not being de-
creased, but in some cases the amper-
age of the lamps was being reduced.
In some cases the light was being cut
down by diffusers in which event the
amperage would not be reduced.
Gaudio Starts Something

Mr. Clarke suggested that no def-
inite conclusions could be arrived at
until more water had passed under
the bridge.

One of the executives in comment-
ing on Mr. Clarke's report said the
failure to reduce amperage was in
many cases due to the fact that the
studios had not as yet bought the
smaller globes requiring less amper-
age.

Tony Gaudio at this point in his in-
imitable manner stressed the neces-
sity of retaining the present quota of
lamps and even increasing the size of
some of the lamps in order to obtain
the benefit of the larger reflectors.
He objected to the producer assuming
he could curtail his lamp equipment
because of the new superspeed film.

The chairman answered in behalf
of the producer. He said the pro-
ducer does not as yet know what to
expect from superspeed film and that
until the cameraman demonstrated
that economy was possible the pro-
ducer should not attempt to curtail
the lighting equipment.

"That's all right," responded Tony,
"but he is already doing it to me."

The demonstration reels consisted
of some tests from United Artists
shot by Ray June and Gregg Toland,
some split screen and other tests from
Paramount made by Virgil Miller,
Vic Milner and Karl Struss, some
tests of Broadway at night by John
Arnold, and some scenes from the
Carlsbad Caves by Elmer Dyer.

It is the intention of the Academy
to hold one or two more meetings on
the same subject in the near future,
when more complete data will be
available.

present conditions will permit. He
added that for years the aim of the
manufacturers had been to speed up
emulsion. With the new-comer there
are going to be slight changes in the
handling of the film, which had been
provided among other things as a
medium by which to improve photo-
graphic quality.

"It should be the aim of a new
emulsion to cost less," the speaker
continued, "and experience is proving
that this does cost less because of the
decreased cost of lighting which can
be used with it. Also you are getting
no more but probably less grain with
the new film. One of the noticeable
factors in the tests now being con-
ducted is its demonstration that the
make-up on the lips is too heavy."

Joe Rucker of Local 659 was intro-
duced to the gathering as one of the
two men who went down to the bot-
tom of the world to photograph the
Byrd expedition. The cameraman
remarked if the new film had been
available on that journey much grief
would have been spared.

John M. Nickolaus, head of the lab-
oratory at M. G. M., said the new
film had presented no problem to the
laboratory so far as he was able to
observe.

Get Same Results

"The same experience apparently
goes with others," he added. "It is
fast, requires less light in the dark-
room, and so far as concerns work-
ing in darkness in handling I have
had no occasion to do that. We find
we use the same light, handle the
stock the same way, and get the same
results. I believe eventually it may
prove to be easier to handle and not
harder.

"There has been a lot of talk that
the supersensitive requires a different
treatment, but I have found nothing
like that. I have found no laboratory
man who has noted any difference. I
have found no cameraman who has
had any difficulty. It is my belief
with the new film the cameraman
will reach his aims with less effort.
It is no bother from the laboratory
side. So far as the light is concerned
most laboratories always work with a
very faint light anyway."

Lyman Broening asked as to when
it was intended to demonstrate with
color charts, saying that up to the
present time attention had been cen-
tred on the make-up side.

Tony Gaudio, in answering, said
from his experience in the few weeks
he had been working with the new
stock he had not found any variation
in change of color that would be no-
ticeable when a picture was joined to-
gether— inside and outside.

By Another Observer

1~^HE first technical speaker was
Emory Huse of the Eastman
company, who said that in the
supersensitive film manufacturers
have reached their goal so far as

Of Course

Len Powers — Why do Scotchmen
prefer blonds?

Len Smith — I suppose it is because
of the light overhead.

Thirty

The INTERNATIONAL PHOTOGRAPHER

May, 1931

Looking In on Just a Fezv Nezv Ones

(Continued from Page 22)

the rescuing automobiles headed on
the ground by a big tank and in the
air heralded by a helicopter; the as-
sault on the castle, the battle and the
following destruction.

The flash we get of the torture
chamber and the multiple gallows is a
sufficient reminder of the good old
days as they were lived a thousand or
more years ago.

The picture was directed by David
Butler from an adaptation by William
Conselman.

\ 1 1

DIRIGIBLE

Joe Walker, Cameraman

WHAT Hollywood and the motion
picture industry jointly or sep-
•ately have done to Uncle Sam's
sailormen when portraying them on
the screen has been the cause of much
grief and profanity on the part of
navy officers— and
often with abun-
dant reason. It is
likely Hollywood
and the m. p. i.
now have done
something that
will help to re-
store cordiality
of feelings — or at
least that Colum-
bia has so done.
For surely it
would seem "Dir-
igible" will be
satisfying to the Joe Walker

navy. In the first place the story was
written by a navy man, one who sees
through the eyes not of a civilian
whose alleged knowledge of navy
traditions is gained from the false
teachings of his fellow screen writers
but rather as one who has lived for
years with the men whose lives and
traditions he is aiming to portray.

Commander Frank Wilbur Wead
has told a human story of bravery
and love, but more than that a story
of honor and self-sacrifice, and inci-
dentally one showing naval officers as
regular fellows — as they pretty gen-
erally must be to continue year in
and year out to be naval officers.

There is so much in the picture to
talk about that adequately to describe
it would require the space of a book.
As an example one of the first cracks
out of the box is the loop of an air-
plane around the Los Angeles diri-
gible. Any one under the delusion
that screen thrills long since were
exhausted should take a look at this
one.

Then again there is the crack-up of
the dirigible, reminiscent of the dis-
aster that befell one of the British
aircraft not so long ago.

There must be many who will main-
tain that where there is present a
knowledge that trick work is being
resorted to there can be no room for
illusion. If they will see "Dirigible"
they will probably change their minds.

Without minimizing the work of
Frank Capra, the director, and his

staff the production is an outstanding
testimonial to the craftsmanship of
the cameramen. Program credit is
given to these photographers as aids
of Joe Walker: Andre Barlatier, Rube
Boyce, Victor Sherick, Frank Zucker,
Charles Levine, George Meehan and
Al Wetzel, with Elmer Dyer on the
air work.

To Jo Swerling goes the credit for
adaptation and dialogue and to
Dorothy E. Howell for the continuity.
The result was a corking good job.

The major part of the interpreta-
tion falls to four persons — Jack Holt,
Ralph Graves, Fay Wray and Hobart
Bosworth.

It is trite to say a man has done
nothing finer, but the risk will be
taken here in the instance of both
Holt and Graves. The former has
the part of the lighter than air par-
tisan, while the other is strong for
the plane.

The first is characterized as a
steadygoing navy man who weighs
his chances and taken them, while his
friend reverses the order of proce-
dure. They are great friends, a re-
lation protected by the first even
though he is in love with the wife of
the second. It is this phase of the
story which lifts the picture out of
and above the altitude it attains as a
striking spectacle into that of a really
dramatic story, a spectacular love
story if you will. In this Fay Wray
does her share.

This writer knows no better way of
summing up "Dirigible" than by
quoting John Hill, who from his desk
a half a dozen feet away suggested
it was a motion picture and of the
navy without display of shooting
irons, a cast without a villain, a
comedian or a vamp; without a resort
to booze, cusswords, ribaldry or per-
sonal combat; without undue sex ao-
peal or any of the surefire bunk of the
old order; and that love, honor, de-
cency, sportsmanship and unselfish
devotion to duty are stressed with-
out preachment.

And that's from a man who came
to Hollywood before the pictures did.

KIKI

Karl Struss, Cameraman

TO approach a review of "Kiki"
with Mary Pickford in the role
of the nutty French girl is not
a simple task for one who has fol-
lowed the player through all of her
pictures in the first decade of her
screen work and in some of those of
the second. If behind her appearance
in this most difficult role it had been
the intention of Miss Pickford to am-
putate and dismember such Tradition
as had been created in twenty years
it must be admitted she certainly has
succeeded.

The most difficult phase here in
wooing the illusion which is the neces-
sary prerequisite to enjoyment of
drama is overcoming consciousness of
the identity of Kiki, the pursuing feel-

ing that seemingly will not down that
here is the one we have known as
America's fair-haired girl or some-
thing like that who is pulling down
around her ears the structure she has
so carefully builded all these years;
that she is serving notice on those
who may be interested that by this
token of "Kiki" the past is dead, like
Marley deader than a doornail; that
the new Pickford will be utterly and
entirely unlike the one we knew in
the pre-war and practically all of the
post-war period.

To those not thus pre-handicapped
"Kiki" should be an enjoyable picture.
One wide and amiable female found a
sequence so much to her liking that
not only did she stage an excellent
demonstration of near hysteria but
she carried along some of her neigh-
bors and left them in a condition bor-
dering on collapse. Even the show-
man's mildewed if expressive "belly
laugh" seemed pale and anaemic at
times.

Reginald Denny headed the support-
ing cast, which included also Joseph
Cawthorne and Margaret Livingston.

Sam Taylor adapted and directed
this Belasco play from the French of
Andre Picard.

SKIPPY

Karl Struss, Cameraman

PRODUCTION of a story of chil-
dren is approached by Paramount
in no spirit of indifference, as is
attested by a survey of the staff as-
sembled to prepare and produce
"Skippy." The tale was written by
Sam Mintz from
the newspaper
serial strip of
Percy Crosby.
The screen play
was done by
Joseph L. Man-
kiewicz and Nor-
man M c L e o d.
Then to make cer-
tain no opportun-
ity should be over-
looked Don Mar-
quis was called in
to write addi-
tional dialogue. Karl Struss
The finished result has the earmarks
of quite a bit of the Marquis stuff.

"Skippy" is a good picture, not
alone one of marked interest to the
youngsters. There are several mo-
ments when adults of any age are
going to squirm uncomfortably as
through the high-powered glass of
childhood they see the magnified trag-
edy that follows the official shooting
by the dog catcher of Sooky's mongrel.

The young hero of the picture of
course is Skippy as played by Jackie
Cooper, and certainly he plays his
part. It is a finished performance.

What will stand out above other
factors, however, in the view of the
average picturegoer will be the first
screen appearance and also in dia-
logue of Robert Coogan, the five-year-
old brother of the child who was made
famous by Charles Chaplin in "The
Kid." The new-comer does remark-
ably well, especially in view of the un-

May, 1931

The INTERNATIONAL PHOTOGRAPHER

Thirty -one

usually long speeches assigned to him
- — and which he puts over with the
air of one not unacquainted with his
screen.

When an infant is given for utter-
ance such phrases as "sociological
juxtaposition" not so much allowance
is being made for childhood. It may
be worthwhile remarking in passing
that the struggles of Sooky and
Skippy with the tongue-twisting com-
bination contributed to the comedy.

Mitzi Green and Jackie Searl were
the other principals among the chil-
'dren.

For the seniors Willard Robertson
as the father and Enid Bennett as the
mother had the most to do in their
department, although Helen Jerome
Eddy as the mother of Sooky made
iher part felt.

There is a goodly sprinkling of
serious drama running through the
picture, the kind that will impress
children as well as their elders.

Norman Taurog has done a good
job in the handling of the children,
especially the little fellow.

SEED

Jackson J. Rose

Jackson J. Rose, Cameraman

BETTER hang up a bull's eye for
Universal. This is written in
advance of the public showing of
"Seed," Gladys Lehman's adaptation
of Charles G. Norris' novel of the
same name.

The picture has
remarkable ap-
peal. Its founda-
tion is the fam-
ily, which is
)ound to concern
:he majority of
i u m a n beings.
jThe story runs
easily and
smoothly for two-

birds of its
ength. During

hat period it
neasureably i n -

erests, but with one or two exeep-
ions without noticeably disturbing
he emotions. The final third digs
leeply into the feelings.

The tale turns upon the attraction
f children to men of maturer years —
vhen the men are older and the chil-
dren grown. When Peggy Carter,
interpreted by Lois Wilson, tells her
ival Mildred, played by Genevieve
,'obin, that the latter may take her
usband but cannot hold him per-
manently there will be many male
keptics who listen in on the conver-
sation. But ten years later when
|hey see these children advancing to
lanhood and womanhood they realize
ie strength of the wife's position.

The denouement of the story comes
hen the rival, successful for ten
'ears, comes to the first wife and
'lis her she has won.

John M. Stahl has directed a strong
icture.

With the exception of one notable
istance and possibly one other minor
ie there is no departure from the
raight line of wholesomeness. The
cceptions cheapen an otherwise im-
■ccable piece of work, but both in-

stances are challenges to censors
where these exist and at least one of
them is pretty certain to be accepted.

Lois Wilson easily carries away
the honors of the picture. The story
lends its strength to this end and she
finely meets the responsibilities and
the possibilities put upon her and
handed to her by the author.

Genevieve Tobin provides abundant
reason for a man leaving home even
when sheltering five children of his
own. In spite of the unpopular side
of her character, so well drawn is it
that the average male picturegoer
will be in doubt as to which woman
should get the decision so far as his
personal sympathies are concerned.

John Boles carries the part of Bart
Carter, the budding novelist shunted
off of his path because of the turbu-
lence existing in a household of five
children. Richard Tucker is briefly
seen as Bliss, the publisher, and Zazu
Pitts as the maid of the Carter house-
hold.

Glen MacWilliams

THE FRONT PAGE

Glen MacWilliams, Cameraman

IT'S a great picture, "The Front
Page," this metropolitan news-
paper picture with a hick title.
But probably everybody but metro-
politan newspaper men will recognize
what is meant, which after all must
have been the
chief essential in
the minds of the
picture men re-
sponsible for the
adaptation of the
story. The aim of
the playwright is
not to be any
more handicap-
ped by cold facts
than were the re-
porters in the
pressroom at Po-
1 i c e Headquar-
ters telephoning
in their versions
of what was tak-
ing place before their own eyes — and
incidentally the eyes of the audience.
The reporters were so far at vari-
ance with the facts it became farce
comedy — and the house roared as a
matter of course, and seemingly with
no exceptions.

The aim of the playwright is to
create entertainment,, with laughter
and suspense, to keep a house on edge
from start to finish. All of that "The
Front Page" notably does.

The story was written by Ben
Hecht and Charles McArthur, with
Bartlett Cormack adapting. Lewis
Milestone directed.

The backbone of the tale is the ef-
fort of Johnson, a twenty-five-year-
old reporter on the Post, to quit the
service of Managing Editor Burns
after fifteen years of close relation-
ship with him in order that the former
may marry Peggy, move to another
city and enter the advertising busi-
ness. Johnson has in his pockets
tickets and the change for five
hundred bucks supplied by the bride
and all set to go when things happen
— and the wedding is much delayed,

at times the indications being there
will be none.

One of the major factors of the
picture is the cast, there being twenty
names listed. At the top is Adolphe
Menjou, who plays the hard-boiled
editor. The characterization is a
treat, crisp and blunt — the opposite
to the Menjou we have known.

Pat O'Brien, a young man from the
stage, has the part of Johnson, the
seceding reporter, and puts up a
corking performance. George E.
Stone is Williams, the condemned
man who shoots an alienist with the
pistol loaned by the sheriff for the
examination. Stone tightly holds
the stage in the comparatively few
moments it is given to him. Sharing
it with him at times is Mae Clarke as
Molly, the girl of the streets who in-
sists the condemned man has not had
a chance. May we see more of her
work.

Edward Horton has a lesser role as
a reporter, one of the mob in the
room provided for the press at Police
Headquarters. He is portrayed as
quite insistent on disinfecting the
place on slight provocation, all of
which furnishes a colorable excuse
for mention of a patented article. The
employment of Horton for the minor
part is just an example of the lengths
to which the producer went in his ef-
fort to secure a high-class cast.

There was Effie Ellsler, that Broad-
way star of other years, as the
mother of Peggy, played by Mary
Brian; there was James Gordon as
the mayor; Clarence H. Wilson as
Sheriff Hartman; Slim Summerville
as a messenger for the governor; and
Matt Moore and Frank McHugh as
denizens of the reporter's room.

The camera department is given
much to do, and does it well. A
goodly bit of the tale is unfolded
through the use of the lens, graphic-
ally enhancing the tension, of which
latter there is an abundance.

The dialogue smacks of the fo'c'sle,
of the chatter of men who work to-
gether and drink together, whether
on sea or on land. In shifting the
tale from the stage to the screen an
attempt has been made in some in-
stances to reduce the robust dialogue,
not always with entire success so far
as regards conveying the real atmos-
phere, and of course it could not be
expected to.

As one quite proper matron from
down East remarked as she emerged
from under the spell of this Caddo
subject: "I know of course it is a
man's picture all the way, and while
I know I shouldn't say it really, you
know, I liked it very much."

The Deaf Shall Hear

Twenty-two additional theatres
have had Western Electric audi-
phones installed for the hard-of-hear-
ing by Electrical Research Products.
They are representative of the entire
country.

A comprehensive questionnaire,
covering all phases of processing of
picture and sound film, is now being
circulated in the laboratories by the
Academy.

Thirty-two

The INTERNATIONAL PHOTOGRAPHER

May, 1931

Parichy zvith Camera and Pen

(Continued from Page 21)

of the nights tie your emotions
with velvet cords of Romance.

The lodestar of Granada today, as
in the past, is the Alhambra — a fitting
monument to the Moslem regime. The
legendary haunted magnificence of
this grim forbidding structure in its
strategic spot commanding the city
below has never been dimmed by the
Heel of Conflict or the Shackles of
Time.

Here are vast courts and halls, the
walls of which are resplendent with
the exhaustless legacy of filigreed
stucco, tile and ivory medallions in-
scribing the immortal wisdom of the
Koran and exquisite love poems and
proverbs so dear to the hearts of the
followers of Mohammed.

In the central court I come upon
the twelve grotesque Byzantine lions,
whose stoney eyes have witnessed in

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the dim past gory scenes of foul
butchery and flashing sword, in dash-
ing episodes of Castilian knights and
Moslem maidens, and although these
melancholy galleries and courts are
silenced forever I find it not hard to
repeople, in my imagination, these
enchanting gardens with pampered
harem damsels of loveliness lingering
above tiny fountains that now seem
strangely vocal, singing a requiem of
unquiet waters.

Despite all that has been written
words are inadequate to describe the
Court of the Baths, where the Sul-
tana and her saffron skinned daugh-
ters laved in sweet-scented waters.
Here, they tell me, a bottomless seep-
age of entrapped oils has absorbed
over centuries, where the essence of
rare Eastern perfume still emanates
faintly from out the richly gilded
walls. Looking out through an in-
closure in the courtyard I see an art-
ist, painting. His canvas will, I know,
catch the beauty of what the eye can
see, but it cannot sense the exotic
fragrance of the exquisitely pungent
odor that permeates these chamber
walls.

Moorish Enchantment

My imagination is intrigued and
held captive by the phantasmagoria
of the Past, in the mythical yester-
years of "One Thousand and One
Nights." Moorish enchantment and
magic surround me, and these royal
maidens of the court seem to live
again.

I see, above my power of analysis,
pictures more vivid than ever Goya
painted of jeweled draperies swaying
gracefully in the portals, alike the
folding of peacock feathers, as these
cloistered ladies pass in phantom
pageant. . . .

I seem to see, in the multicolored
iridescence of glazed tile, conquests of
sword against scimitar as the Cross
and Crescent parallel in a ten year
strife of barbaric and malignant on-
slaught.

Suddenly the illusion melts from my
fancy, taking with it these phantoms
out of the alert pages of history . . .
beautiful ladies of the Moorish Court
return to their somnolent oblivion
. . . the halls and galleries of my
mythical hallucination become the
gray counterfeiting realities of To-
day.

The interlude of this phantasy and
its melting away has been so be-
wildering that I am unable at once to
adjust my mind to normal focus.

One last look at the Alhambra with
her towering ramparts, where so
much of history has been written and
now resounds with echoing silences
and long sighs of commendation to
the banished Moor who brought the
only loveliness into a drab existence.
An Impromptu Dance

I have yet before me another phase
of Moorish heritage . . . the Hispanic
Gitanos of the Caves, and as I de-
scend the Alhambra Hill I look across
the River Darro to the neighboring
Albaicin mountainside that is honey-
combed with the cave dwellings of
this race.

Anxious to see these gypsies, famous

May, 19.31

The INTERNATIONAL PHOTOGRAPHER

Thirty-three

in song and story, I venture up the
winding trail to their crude, rock,
cactus-framed hovels. The headman,
or "King" as he is titled among his
Gitano followers, greets me with an
uncouth smile upon his sun-rust face
as he assures me an impromptu dance
can be arranged for my entertain-
ment.

Ever in a carnival spirit, this band
of fortune telling, music telling, peo-
ple reign supreme . . . shrill calls of
"Bailen Uds!" "Bailen Uds!" come
from full bosomed senoras lazily sun-
ning themselves on hovel stoops, while
they watch with alert eyes, their off-
spring at play.

Strains of Invitation

The atmosphere becomes filled with
the lilting strains of invitation. These
troubadours of the caves, loitering in
secluded doorways, strumming guitars
and humming harmonies of love songs,
are the true alchemists of the musical
quintessence of old Spain.

Presently a bevy of heavily rouged,
dangerously pretty Gitana senoritas
group leisurely about me, bedecked in
fiesta costumes of gay small fringed
shawls and wide skirted sleeves in a
riot of embroidery. Such bizarre
adornment and ensemble of coloring I
have never before witnessed . . . and
poised perilously atop the heads of
these raven-haired sirens are huge
artificial roses of scarlet and yellow,
that salute mockingly with each nod
of motion.

Centuries of Nomad Myth

They are to perform for me the
"Flamenco," a glorious resurrection of
Antiquity . . . the dance that belongs
to the ages, having absorbed, through
the centuries, all the characteristics
of the Moorish, Arab and Egyptian
influence.

The dance begins in a slow gyrating
contortion . . . tapering hands clack
the castanets . . . shoulders respond
in sheer rhythmic movement . . . hips
yield in vibrant grace . . . darkly smil-
ing black-onyx eyes blaze in unre-
strained flames of Life, tempered with
the unfathomable mysteries of the
Orient . . . firm white teeth wink in a
sudden glimmer of sunlight as the
nonchalant flight of gesture plays
upon carmine lips that move in mel-
ody and laughter . . . dreamily out of
focus, in the flying dust of hard earth
floor, are the high red heels that
stamp to the clapping and emphasis
of the beat.

Figures Devilishly Bewitching

There seems to be no climax to the
merriment as whirl succeeds whirl in
rapid repetition. Centuries of Nomad
myth and charm are reborn in this
interwoven swaying of devilishly be-
witching figures.

The dance stops at last, for the God
of Terpsichore must give way to the
ever mercenary urge, which is over-
developed in the minds of these cham-
pion "chiselers" ... no matter how
many pesetas one gives, it is never
enough to satiate, and it is interesting
to watch the changing expressions and
hear the maniacal shouts as they de-
mand exorbitant gratuities for their

performance. I breathe a sigh of re-
lief to be skinwhole and on my way
again.

Majestic Panorama

Every step of the way offers en-
trancing views of the majestic pan-
orama of the valley below, that am-
plifies my regret at leaving this quaint
city, that is unmindful of Twentieth-
Century madness ... so sleep on, lit-
tle city, and let not modern customs
creep in to sweep away your Old
World charm.

I carry away with me a cargo of
inflammatory memories . . . j"Adios,
Granada!" . . .

"Hasta Manana!"

Correctoscope Is Ready

Hugo Meyer announces its new Cor-
rectoscope, a precision optical instru-
ment for determining the distance of
a subject from the camera and for
obtaining the correct exposure stop.

The Correctoscope is provided with
a specially constructed, critical, focus-
ing lens, in a focusing mount and with
diaphragm control, both calibrated
just like a camera lens. The image,
which is reflected through a prism, is
viewed by the eye through a highly
corrected magnifying eyepiece, the
focus of which is adjustable to par-
ticular eye conditions. The image is
seen right side up.

4LDIC-CAME\

SOUND -ON -FILM

RECORDING

SYSTEM

fc;n^

Send for Our New Illustrated Catalogue

And Learn About

Practical Portable Sound Recording

Eugene J. Cour, Chieago Representative,
1029 South Wabash Avenue

Thirty-four

The INTERNATIONAL PHOTOGRAPHER

May, 1931

Twenty Years Ago

GENE COUR was the staff and
only photog- on the Chi Daily Journal
— The Copper mine strike and Dayton
floods were only a couple of genial
Gene's outstanding scoops. Them
were the days when a newspaper
scoop called forth plenty of individual
initiative.

By HARRY BIRCH

MARVIN SPOOR was preparing
for a busy career behind the camera
out at the Essanay plant. This was
just a wee bit before the time that
Wallace Beery, Gloria Swanson,
Francis X. Bushman and several
others of later flicker fame were on
the lot.

TRACY MATHEWSON was call-
ing- Chicago his home and dividing his
time between cranking for newsreels
and shooting stills for the Hearst Pa-
pers. (Tracy has just returned from
a business trip to Manaugua, Nica-
ragua. He journeyed down there on
the business end of a Pathe Sound
News camera and brought back some
excellent as well as exciting negatives
on the recent upheaval).

CHARLEY DAVID and RALPH
PHILLIPS were pondering over the

Over the Grapevine

Prexy David is Sherman Hotel-
ling these days . . . Gene Cour like-
wise is New Yorking . . . Spring-
time, baseball, thoughts of fishing
and golfing — and ah! just to con-
template Red Felbinger's new sum-
mer golf panties draws a sigh . . .
Ralph Phillips, the big lab man,
is holding a series of week-end
parties for the t.b.m. of the loop
over at his rendezvous near Hud-
son Lake. 'Tis rumored the grog
is n.s.g. . . . Phil Gleason and the
hostess blond have cooled . . . Roy
Anderson, down in oP St. Louis, is
grinding again . . . Newsreelers
have declared open season this sum-
mer on the 16mm get-in-the-
wayers . . . Ralph Lembeck show-
ing off his 180 pound soundie — it's
all his salestalk implies . . . Ralph
Biddy, filming the stanoil tests at
Hoosier speedway, for once isn't
looking- for crashes . . . Dick Gan-
strom, Dave Hargen and the Jam
Handies just completed super non-
theatrical for Goodyear at Akron:
good reports. More anon.

DUNNING

Process Company

A FEW CURRENT AND FUTURE RELEASES CONTAINING
DUNNING SHOTS

"Connecticut Yankee" Fox

"Traveling Husbands" R.K.O.

"Subway Express" Columbia

"Rebound" R.K.O.-Pathe

"Dirigible" Columbia

"Front Page" United Artists

Our projection room for demonstration of Process is at your disposal.

"Join Dunning and See the World from a Sound Stage"

"You Shoot Today — Screen Tomorrow"

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release of their first all-colored cast
comedy. If the hard boiled audiences
had only laughed half as hard as
Charley and "Bull" did while they
were shooting these pichurs — we are
sure that these two veteran producers
would have depleted the African tusk
market.

BOB HOLLAHAN broke forth with
speed flash appliances for his Chi
Daily News still camera and astounded
the local lens jugglers with a series
of remarkable action flashlights.

SIX-SIXTY-SIX

Sound Track Takes the Air

What is said to be the first sound
on film broadcast ever made was put
on the air by Ralph Lembeck and Bob
Butler at Station WLW a few weeks
ago.

Securing- permission of the Federal
Radio Commission to use a short wave
station — these ambitious six-sixty-
sixers hope to have most of the civil-
ized world listening in on their next
projector broadcast.

Economy and portability of this
method of recording- radio programs
have lent considerable interest to the
tests being- conducted, and it is as-
sumed that the near future will see its
general use. The Cincinnati station
is proud to have had the first oppor-
tunity of placing this innovation be-
fore the public.

SIX-SIXTY-SIX

In Focus — In Spots

By the Sassiety Reporter

I USED to stand behind my ole
groan box on many a cold Satur-
day afternoon on top of the
Stadium down at Notre Dame, next to
a whole gang of the 666 grinders and
just kinda gloat every time the Irish
made another touchdown. So did all
the other lense focusers, and not ex-
actly because Notre Dame was our
Alma Mammy, but we knew it kinda
musta tickled the boss of that outfit
down there on the sidelines who the
world called the Wizard, "Einstein of
the Grid," etc., but who to us baboons
up there in the whistling wind wuz
just referred to as "Rock."

The other day the news printers
banged out three electrifying words —
"Rockne Is Dead." It sure did hit
the 666 newsreelers, as Rock was the
one regular guy we did love out here
in the Windy City territory.

I ain't the bird to write a eulogy on
any man, but I jest want all the birds
what read this to know that Rock's
passing is sure felt by the middle west
newsreel gang, and I don't know how

May, 1931

The INTERNATIONAL PHOTOGRAPHER

Thirty-five

exactly to say it, but I think if I can
quote you'll get what I mean.

At the funeral Brother Charles Geis
made the comment while setting up
for the last shot of Rockne.

Real Eulogy at That

Charlie said: "You know about
three years ago when we all wanted
to make a story on spring training
and we had to make a deadline with
it and how Rock disrupted a whole
afternoon of classes, while all the pro-
fessors stormed, so's we could make
the issue?"

And Brother Geis picked up a maga-
zine as he continued: "Well, he al-
ways sure did do anything for us that
we asked for and there ain't many
birds like that left."

And then I kinda figgered that ex-
plained Rockne. All the world wor-
shipped him as the BIG hero, but
Rockne never got the big head like
most birds do.

Well, next football season the game
will go on at Notre Dame, the wind
will whistle, the Irish will make an-
other touchdown, and up there atop of
the press box a handfull of 666
crankers will kinda gloat because
they'll know Rock, the boss, up there
in eternity will be tickled as his eter-
nal spirit leads his fightin' Irish on
out there on the Grid.

"So long and g^ood luck on the last
down, 'Rock!' The news boys of 666
put you in first place of 'regular guys'
in life, and it's your spot for immor-
tal keeps!"

SIX-SIXTY-SIX

Cycles, Not Wheels

Remember way back when Brother
Charles Chapman was a sane news-
reel camera man? Well, times do
kinda change now and then. Chap is
breezin' about now talking all about
6000 cycles, high frequencies, stages
of amplification, and it looks to me
like the ole Demon "Sound" has
caught up with another celluloid vet-
eran.

And talking about Chap, that re-
minds me of the good ole daze when
Chap was head of the local Pathe

, News office and Brother Hollahan and
myself used to have to steal the only
Eymo in the office out of Chap's car
so's we didn't have to drag the goddam

. Akeley out on a story.

Maybe them Akeley cameras
wouldn't be a treat to drag around

.now, tho. It seems like them old sound
growlers get heavier everytime you
pick 'em up.

SIX-SIXTY-SIX

Safety First

Well the boys all did a stretch
again — this time in the pen out at
Joliet, the occasion being a little hot
time the prisoners put on. Charlee
Ford and his aid, Jack Bennett, went
up for Universal, Norm Alley made
Neems, Gleason and Morrison file in
! in lock step formation, and Yours
Trooly dragged Robertson out to com-
plete the six-six-sixers.

Some of the prisoners didn't like
the looks of the camera snoopers, and
from their cells spoke their minds
and payed some mighty strong trib-

utes to our old lense users.

Well it kinda peeved Eddie Morri-
son when one of the inmates yelled
out and called him a such and such.
Eddie turned to one of the guards that
was assigned to us and says:

"Hey! is all them birds locked up
now?"

"Yesiree," says the guard.

"Well, then," says Eddie, crying
back to where the razzberry came
from: "You're all a lot of dirty so
and so's."

brothers and showed off his collection
of tin badges he is collecting in his
roamings over the middle west.

He claims to be Assistant Chief of
Police out in Des Moines, but Eddie
Morrison and Phil Gleason are won-
dering how come a guy what's got so
many tin stars got a ticket for park-
ing a little while too long in South
Bend.

SIX-SIXTY-SIX

Did He Say They Were Props?

Brother John Herrmann of 659,
traveling through this country the
other day, bust in on a bunch of the

How Does He Get That Way

Skipper Alley of this here Page
says for me to cut the collim down a
little this month. Maybe he meant
cut it out, and seein' as how I got
Spring fever I better sign off right
here till next month.

CAMERAMEN!

Protect Your Salary

If illness or accident should prevent your working and cause
the bills to pile up — then what? Take a small part of your
annual income and make sure that money will keep on com-
ing in.

Here are special cameramen's rates.

FOR ACCIDENTS:

$150 per month, from FIRST DAY, and payable as long as you
live and are disabled in engaging in any occupation for wage
or profit.

$300 per month payable as above should accident occur on a
public conveyance, passenger elevator, fire, etc.

$300 per month while confined to hospital, up to two months.

$ 75 a month if partially disabled but able to attend business.

FOR SICKNESS:

$150 per month beginning the FIRST DAY and payable as long

as you live and are disabled and confined to the house.
$300 a month while confined to a hospital, up to two months.
$150 a month for non-confining illness, up to two months.

EXTRA ALLOWANCES:

For operations, in addition to
Sickness.

ibo^

for

ithe

ident

EXAMPLE :

If you went to the hospital for a month; then were confined to
your home for a month; and then spent one month recuper-
ating away from work, the Company would pay you $600,
plus extra money for an operation.

SPECIAL: CAMERAMEN'S RATES. AGES 18 TO 49.

Annually $ I I 3.00 Quarterly 29.00

Semi-Annually 57.25 Monthly 10.50

Rate Reduced to $88.00 Annually -with 1st week eliminated

A Policy Fee of $5.00 is required with first premium.

Telephone for Sample Policy or for Appointment
at Studio or Residence

Different Rates for other occupations. Inquire!

ALBERT IS4 IIMIS

HOLLYWOOD

310 TAFT BLDG.

GR. 1721

All Risk Camera Insurance Costs 2('f. Worldwide 3%

Thirty-six

The INTERNATIONAL PHOTOGRAPHER

May, 1931

Fearless Camera Convertible 35-50

Designed to Be Silent and for Photographing*

Color Pictures Without Alterations —

Ten Minutes for Width Shift

THE new Fearless camera is
built, first, to be silent so that it
can be used in the open without
any sound-proof covering for all ordi-
nary shots; second, the design allows
sufficient room to accommodate film
up to 50 mm. in width; third, it read-
ily can be converted to the special
width films; fourth, for taking col-
ored pictures in the camera without
any alterations; fifth, for recording
sound directly in the camera if so de-
sired, and lastly and most important,
35 mm. film can be used in it also.

From the cameraman's point of
view, the most interesting feature is
that of being able to use the camera
for either 35 mm. or wide film. The
camera is normally equiped for 35
mm. film. A special movement for
50 mm. film has been developed, and
this movement is interchangeable
with the 35. Two interchangeable
sprocket and roller assemblies have
been developed. One is for 35 mm.
film and the other for 50 mm. So
merely by removing one movement
and sprocket assembly and substitut-
ing the other, the camera can be used
for either size film. This feature ap-
plies to any other size film up to 50
mm. The changeover from one size
to the other can be made in less than
ten minutes.

The magazines also are convertible
for film sizes up to 50 mm. This is
accomplished by providing the film
rollers with a relief so that the 35
mm. film is properly guided into the
magazine and by furnishing special
take-up spools for the narrow film.
These spools hold the film central in
the magazine and prevent it from

creeping, to one side or the other.
In fact, they practically act as a film
reel. .

Special Adapter

Standard 35 mm. magazines also
can be employed on the camera when
using 35 mm. film, thus making it
possible to retain some of the equip-
ment the producer now has. This is
accomplished by making a special
adapter which fastens on top of the
camera. This partially covers the hole

Showing new Fearless motor adapter

and clutch combination for mounting

motor directly on camera

for the large size film and excludes
all light from the inside of the cam-
era when using the 35 mm. maga-
zines. With the adapter in place
standard 35 mm. magazines can be
used.

Other features of the camera in-
clude a quick focusing device, full

force feed lubrication to all major
driven parts, all driving parts being
inclosed and running in an oil bath,
two built-in footage counters and
built-in three-speed dissolving gear
mechanism. The camera also may be
equipped for sound recording within
the camera.

To elaborate on the method of fo-
cusing the photographic lens the
camera is built with a sliding turret
and lens carrier on the front of the
camera box. This carrier is mounted
in dovetails and so constructed that
it may be shifted across the front of
the camera box to a point where the
photographic lens is in front of the
ground glass of the focusing tube.

The lens carrier is made so that the
light shade is mounted to it, and in-
stead of having to shift the camera,
magazine, motors, cables, etc., only
the light weight lens system and
matte box is shifted.

The actual shifting is accomplished
by merely pressing down a knob and
moving a lever from one side of the
camera to the other. This focusing
operation is performed so quickly
that it has been a revelation to all
who have seen it. Suitable stops pre-
vent overtravel, and suitable locks
are provided to hold the lens carrier
either on the focusing position or in
the photographic position.

The image is viewed with a con-
ventional finder or focusing magni-
fier, which is supplied for either five
or ten power. The focusing telescope
is of the simple astronomical type,
and reinverts the inverted image
formed by the lens on the ground
glass, thus bringing the viewed image
right side up and right side to.
Absorbing Vibration

The camera can be furnished with
a built-in auxiliary recording aper-
ture at the proper distance from the
photographic aperture and sprocket
for recording sound directly in the

ROY DAVIDGE FILM
LABORATORIES

An Exclusive ' ''Daily ' ' La boratory

Quality and Service

6701-6715 SANTA MONICA BOULEVARD

GRanite 3108

May, 1931

The INTERNATIONAL PHOTOGRAPHER

Thirty-seven

camera. The auxiliary sprocket for
pulling the film past the sound re-
cording aperture is driven by a mech-
anism designed to absorb vibration
so that the sound recorded is free
from the so-called wow-wows caused
by irregularity of film speed by the
sound aperture.

This feature of built-in sound re-
cording makes it possible for the pro-
ducer using wide film to make sound
pictures at once without having to
wait for new recording apparatus for
the new size film. The design is
. adaptable to almost any type of light
, valve or glow lamp type of recording.
A standard Fearless Silent move-
ment is used to feed the film past
the aperture. Two claw pins are em-
ployed on each side of the film to
pull the film down and pilot pins are
\ used to lock the film during the expo-
sure. This movement is extremely
i easy to thread, and due to simplicity
of design and accuracy of workman-
ship is so silent that only by placing
, the ear against the frame of the
movement can any sound be heard
while in operation.

The camera has been designed for
silence throughout, and extreme pains
have been taken in the design and
. construction to eliminate noise wher-
i ever possible. The camera can be
; used in the open for all ordinary
', shots without any sound-proof cov-
ering.

This has been accomplished by us-
ing fibre gears to transmit the pow-

Exterior of Fearless camera showing
among other features Fearless silent
movement and sprocket assembly
which may be removed for installation
of other size

er, precision bearings for driving
shafts, and by inclosing all moving
mechanism outside of the movement
and sprocket assembly in an oil-tight
and sound-proof compartment which
serves as an oil reservoir.

Pressure Feed Lubrication
An oil pump within this compart-
ment pumps oil to all bearings and
moving parts. This circulating oil
deadens any noise developed by the
mechanism. The oil level may be
viewed through a window, built into
a plate, that covers the mechanism
compartment. Sufficient oil is placed
into the compartment to last for sev-

eral months. All high grade auto-
mobiles use pressure feed lubrication,
but this is the first time it has ever
been applied to a motion picture
camera.

The motor drives directly into an
extension of the movement cam
shaft, thus transmitting the motor
power directly to the most highly
stressed part of the camera and elim-
inates a great deal of noise caused
from gears. The motor itself absorbs
any vibration caused by the intermit-
tent movement.

Silent bakelite gears are used to
drive the sprockets and shutter shaft.
A large heavy shutter of the two
opening type, running at a speed
one-half of the intermittent mechan-
ism, is used for a flywheel. This
heavy revolving shutter also absorbs
any noise that might be transmitted
to the front of the camera.

Wherever possible instrument type
precision annular ball bearings have
been used to reduce friction and to
insure long life to the instrument.

Two footage counters are built into
the camera, one being used for total
footage shot and the other for indi-
vidual takes.

An anti-buckle device is incor-
porated within the camera, which au-
tomatically maintains the proper ten-
sion upon the magazine belt. This is
accomplished by passing the film over
three rollers within the camera. The
middle roller is pivoted upon an arm

The only institution of its kind in the world

c,n&5

HIGHLAND AVENUE AT HOLLYWOOD

BLVD.

HOLLYWOOD, CALIF.

CHICAGO OFFICE — 144 WEST GRAND

AVENUE

Foreign Branches

London, England: 10 D'Arblay St.

Sydney, Australia: No. 4-C Her Majesty's
Arcade.

Manila, Philippine Islands: No. 227 David St.

Mexico City. Mexico: Paseo de la Reforma

36'/...

Buenos Aires, Argentina: 500 Sarmiento.

Lima, Peru: Edincia Mineria.

Honolulu, T. H.: 720 South St.

Johannesburg, South Af i ica : Corner Jou-
bert and Kerk St.

Habana, Cuba
H-130, Vedado

The members of Photographers' Local 659 individually unqualifiedly indorse

MAX FACTOR'S MAKE-UP

MAX FACTOR'S MAKE-UP STUDIO

HOLLYWOOD, CALIFORNIA

Thirty-eight

The INTERNATIONAL PHOTOGRAPHER

May, 1931

Camera open showing oil containers. 2. Camera closed showing counters
and dissolve controls

and maintains a constant tension upon
the films by means of a spring.

In the event that the film tension
slackens through belt slippage or
otherwise this middle roller is pulled
to one side by the spring and through
a lever this motion is transmitted to
an idler pulley working on the mag-
azine belt. This idler pulley tight-
ens the belt and the slack film is im-
mediately drawn into the magazine.

In practice this device controls the
film take-up so that an even tension
is maintained, no matter what diam-
eter the roll of film may be. In this
way film buckles caused by improper
film take-up are eliminated.

Provision is made for attaching a
standard Fearless tripod, equipped
with a stud which can be turned by
suitable gears and which engages
with a bronze nut inserted in the
camera case. The camera crank is
used actually to deliver power to the
stud to screw the camera to the
tripod.

A word regarding the new Fearless
magazine. A camera magazine at
first thought appears to present no
problems, but with a little thought
any cameraman will realize that
thousands of feet of film have been
spoiled by the magazine. Scratches

are one of their worst faults. Prac-
tically all buckles in a camera are
caused by improperly constructed
magazines.

Most magazines are extremely hard
to thread, and it is almost impossible
to keep them clean; and in every case
it takes a great amount of labor to
dismantle the magazine to remove
rollers and light trap for cleaning.

Realizing all these handicaps, che
Fearless Camera Company, under the
management of Ralph G. Fear, has
perfected a new type magazine which
overcomes the troubles found in most
of its brothers. These were designed
primarily for silence, serviceability,
durability and reliability, and are ex-
tremely easy to load.

The main magazine casting carries
the take-up rollers and spools. This
assembly is on imported instrument
type annular ball bearings. The
spool will turn thirty to forty rev-
olutions, even when loaded with a
thousand feet of film, if it is twisted
quickly by hand. In fact, the film
moves so freely that one hardly be-
lieves that there is film in the mag-
azine.

Film is fed from the carrier spool
through a free opening light trap.
The light is trapped by two rollers

Faxon Dean Resigns

Executive Board, Local 659, I. A.

T. S. E.
Gentlemen:

I hereby resign as a member of
your Board, effective at your rea-
sonable convenience.

In severing the relations of more
than three years, including as
these do the duties of the chair-
man of the board of trustees from
the inception of the organization,
I hope you will understand the
action is not lightly taken.

I want to express to the officers
and members of the Local and es-
pecially to the members of your
Board my hearty thanks for their
cooperation and support during
that period.

FAXON M. DEAN.

April 17, 1931.

which are also mounted on precision
instrument type ball bearings, and
by a velvet lining in the throat of
the magazine. The rollers are made
from duralumin and the roller shafts
are of steel. The light trap is remov-
able from the magazine.

Six screws in the bottom of the
magazine hold it in place in the main
easting. These may be removed in
a few seconds' time and the entire
light trap removed. The light trap
assembly can be quickly taken apart
by removing four screws from the
side of the casting. In fact, the light
trap can be removed, completely dis-
mantled, cleaned, and reassembled in
less than ten minutes' time.

In developing this magazine, cost
was not taken into consideration, say
the makers, as it was felt the loss of
one roll of film caused by scratches
would represent a sum larger than
that of the added cost.

edward kearns

assistant

cameraman

2464 ho

llyridge drive

hills

ide 4352

King Charney says ...

WHETHER IT BE CARBON OR INCANDESCENT LIGHTING
WHETHER IT BE TALKIES OR SILENT

Insist

Upon

Negative

For definite results

AGFA RAW FILM CORPORATION

May, 1931

The INTERNATIONAL PHOTOGRAPHER

Thirty-nine

NEW

Trueball Tripod Heads

Of Special Alloy, Lighter Weight

MODEL B (PROFESSIONAL!

Smooth operation for follow shots.
Equal tension on all movements.
Action unaffected by temperature.
Instant release telescopic handle.

FRED HOEFNER

Cinema Machine Shop

5319 Santa Monica Blvd.

GLadstone 0243 Los Angeles

Cameras
Lenses

GUARANTEED

To Give Results

Petersons camera exchange

356 So. Bdwy. Los Angeles

Send For Bargain List /

Cinex Testing Machines
Cinex Polishing Machines

Developing Machines

Printing Machines rebuilt for

Sound Printing

Special Motion Picture Machine

Work

Barsam - Tollar
Mechanical Works

7239 Santa Monica Blvd.

Hollywood, California

Phone GRanite 9707

The new "Local 659" emblem.
Small, chic and attractive. Or-
der from your Secretary or direct
from manufacturers.

J. A. Meyers & Co.

822 South Flower Street
The largest jewelry factory

in the West
Diamonds — Watches — Jewelry

Phone GLadstone 4151

HOLLYWOOD
STATE BANK

The only bank in the Industrial

District of Hollywood under

State supervision

Santa Monica Boulevard at
Highland Avenue

ILTEHS,

FvjScfnvx- UiHuiHTroa wrt mwiy ? ttwr fffrcts.

cAste. youp dealers ov tc/pite to

GEORGE H.SCHEIBE

PHOTO-FILTER SPECIALIST

GOERZ

Staats-

Newcomer-

Goerz

CINE-PANOR

for your Recreational
Movie Camera

The Cine-Panor does not
function like the ordinary
wide angle lens. The wide
angle amateur movie lens is
panoramic to the extent that
it increases the field of view
but compresses it to the lim-
itations of the standard
16mm. picture proportion.
The Cine-Panor is a pan-
oramic lens which gives you
true wide angle perspective
on the screen by increasing,
in a horizontal direction, the
size of the screen throw by
507c.

Send for booklet IP4

C.P.GOERZ AMERICAN OPTICAL Co

319 B EAST 34™ ST. NEW YORKCITy

MELROSE

Trunk Factory

UNION MADE Camera

Cases for
UNION CAMERAMEN

UNION MADE Camera Num-
ber Boards

Trunk and Luggage Repairing
Our Specialty

Automobile Trunks, Sample and
Make-Up Cases to Order

GLadstone 1872 646 N. Western
LOS ANGELES, CALIF.

sh . . .

For p

rofessional Bell &

Howell

and DeBrie cameras.

Send fu

11 description for cash

offer.

Or telegraph Bass

Camera

Company, 179 West

Madison street, Chicago,

Illinois.

Forty

The INTERNATIONAL PHOTOGRAPHER

May, 1931

W. A. SICKNER

FIRST CAMERAMAN

COMPLETE

AKELEY
EQUIPMENT

CRestview 7255 GLadstone 5083
HEmpstead 1128

Glenn R. Kershner

First Cameraman

£^0C^

Culver City 3154

ELMER G. DYER

HE8116-HE1128

Walter J. Van Rossem

PHOTOGRAPHIC LABORA-
TORY.
MITCHELL CAMERA No. 225,

COMPLETE, FOR SALE

HOlly 0725 6049 Hollywood Blvd.

Hollywood, California

Alvin Wyckoff

Multicolor

George B. Meehan, Jr.

Specializing in

Process

Miniature, Trick and

Unusual Shots

4128 Rhodes Avenue

North Hollywood
Phone No. HO. 2280

CLASSIFIED

Turn your scrap film and short
ends into cash

HORSLEY CHEMICAL
COMPANY

1123 Lillian Way GLadstone 5490
Hollywood

Dr. G. Floyd Jackman

DENTIST

Member Local No. 659

706 Hollywood First National Bldg.
Hollywood Blvd. at Highland Ave.

GLadstone 7507 Hours:

And by Appointment

9 to 5

FOR SALE— Cameras— Mitchell, Bell & How-
ell, Akeley ; lenses and accessories of all
kinds ; new and used. HOLLYWOOD CAM-
ERA EXCHANGE, 1511 Cahuenga Boulevard.

WANTED, second hand Leica Camera En-
larger ; must be in good condition. Jackson
Rose, care International Photographers.

MITCHELL high-speed Camera No. 225. Van
Rossem, 6049 Hollywood Blvd. HO 0725.

FOR SALE — Mitchell Camera equipped for
black and white or for Multicolor. Harry
Perry, OXford 1908.

MUST SELL MY NEW 400 FOOT UNIVER-
sal 35 M.M. Motion Picture Camera com-
plete, F 3.5 B and L Tessar lens. Shipping
trunk in addition to regular case included,
Original cost $685.00, sell for $150.00 cash.
Guaranteed perfect in every way. Box 10005,
REXO Bulletin, 223 W. Madison St., Chicago.,

FOR SALE— Mitchell highspeed gear box;
nearly new; bargain, $150. Hillside 4025.

With Compliments
Earl (Curly) Metz

Assistant Cameraman

James E. Woodbury

Portrait and Commercial
Photographer

GRanite 3333 5356 Melrose Ave.
Los Angeles, Calif.

"THE SINGLE SIN"

A Tiffany Production
Photographed by

Max B. Du Pont

// you want to sell or buy this is the
place to tell your story.

Art Reeves
Cliff Thomas

Phone
HOIIywood 9431

y^AMEfii

IXCHANQE

1511 N. Cahuenga Blvd.

HOLLYWOOD, CALIFORNIA

The Clearing House
for Cameramen

Mitchell and Bell & Howells FOR RENT

Cameras and Projectors and
Accessories bought and sold

Commercial Photography

Kodak Supplies

Still Finishing

16 mm., 35 mm. Developed and Printed

"One Picture

Is Worth Ten Thousand Words — ,;

Thirty Three Pictures

Produced in Hollywood —

— exclusively

EASTMAN

SUPERSENSITIVE
PANCHROMATIC

(TYPE TWO)

NEGATIVE

J. E. BRULATOUR, Inc.

NEW YORK HOLLYWOOD CHICAGO

INTERNATIONAL
3HOTOGRAPHF

HOL

¥0

^mmmmmma

^mm>mmmK^wm«\mi$mm'"MWt]mi

Jackson Rose

JUNE ♦ NINETEEN • THIRTY-ONE#

WELCOME
S. M. P. E.

*ES.U. S.PAT. OFF

SMITH & ALLER, LTD.

6656 Santa Monica Boulevard HOllywood 5147

Hollywood, California

PACIFIC COAST DISTRIBUTORS FOR

Du Pont Pathe Film Mfg. Corp.

35 West 45th Street New York City

THE

V\ARK OF.

QUALITY

MULTICOLOR.

GREETINGS

S. M. P. E

Perfect Definition • No Fringe • No Bleeding
No More Lighting Necessary than for Black
and White »You Use Your Own Camera Staff

Uniform
Quality
In
Quantity

Our New $1,500,000 Laboratory

MULTICOLOR, LTD.

7000 ROMAINE STREET
HOllywood 7741

Two

The INTERNATIONAL PHOTOGRAPHER

June, 19S1

Lieut. Geo. W. Goddard, U. S. Air Force, uses
the Eyemo for official aerial cinematography

Mr. and Mrs. Martin Johnson use
Eyemos in Africa

Eyemo in news reel service — filming Andre
Tardieu, French statesman and former Premier

ie ^jyemo

35 turn* auiomalic liana camera

Three Lens Turret . . . Seven Film Speeds

The greatest movie in the world has always yet to be made
— and it may be made with a Bell & Howell Eyemo by
someone's right hand. For the new 71-C Eyemo 35 mm.
hand camera provides the versatility and flexibility of the
standard camera with the portability of a 16 mm. machine.

The Eyemo's three-lens turret accommodates all lenses
ordinarily used on any Eyemo model, from the 47 mm. lens,
which is standard equipment, up to the 6 inch telephoto.
Still longer lenses may be interchanged with the shorter
ones. An optional, less compact turret accommodates wide
angle and longer telephoto lenses without interference.
Remounting lenses used on former models to fit the 71-C
turret is a simple factory operation and costs but little.

The new Eyemo has a built-in hand-crank which may be
used instead of the spring motor if desired. The ro